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As a principal ballerina at London's Royal Ballet for 20 years, | 0:00:05 | 0:00:10 | |
Darcey Bussell was one of the world's most famous dancers. | 0:00:10 | 0:00:14 | |
APPLAUSE | 0:00:16 | 0:00:18 | |
But the rigours of classical ballet are a long way from the world | 0:00:18 | 0:00:22 | |
she is about to enter. | 0:00:22 | 0:00:24 | |
I have to say the attraction to those films as an eight-year-old, | 0:00:34 | 0:00:39 | |
they were my first real introductions to wanting to dance at all. | 0:00:39 | 0:00:44 | |
Four years after retiring, she is going to attempt | 0:00:45 | 0:00:48 | |
to dance in a completely new way. | 0:00:48 | 0:00:51 | |
To tap like Fred Astaire... | 0:00:55 | 0:00:57 | |
..to foxtrot like Ginger Rogers... | 0:00:58 | 0:01:02 | |
..and to leap like Gene Kelly. | 0:01:02 | 0:01:04 | |
But this kind of dancing is the opposite of everything | 0:01:06 | 0:01:10 | |
she has been trained to do. | 0:01:10 | 0:01:11 | |
SHE LAUGHS | 0:01:13 | 0:01:14 | |
Maybe I am slightly stepping out of my comfort zone. Just a little bit. | 0:01:14 | 0:01:18 | |
Ah-ha-ha! | 0:01:18 | 0:01:20 | |
She's got to be crazy, but God love her. | 0:01:20 | 0:01:23 | |
If she does it great and I like it, bravo. | 0:01:23 | 0:01:27 | |
By stepping into the shoes of the Hollywood greats, | 0:01:34 | 0:01:37 | |
Darcey will discover the story of these films' music... | 0:01:37 | 0:01:43 | |
costume design... | 0:01:43 | 0:01:44 | |
The skirt goes with you, look at that. | 0:01:44 | 0:01:47 | |
..and famous set pieces. | 0:01:47 | 0:01:48 | |
And by dancing them herself, she'll unlock the secret of their genius. | 0:01:49 | 0:01:54 | |
From the moment sound came to the movies, | 0:02:13 | 0:02:16 | |
every Hollywood studio developed its own style of musical. | 0:02:16 | 0:02:21 | |
And for the next 40 years, huge audiences were enchanted. | 0:02:21 | 0:02:24 | |
What is it that these movies leave in our hearts? | 0:02:26 | 0:02:34 | |
It's some image of brio, sophistication, romance, | 0:02:35 | 0:02:42 | |
wit, lyricism, all coming together in this rhythmic current. | 0:02:42 | 0:02:46 | |
People like Astaire, Cyd Charisse and Ginger Rogers, | 0:02:53 | 0:02:56 | |
they're the most watched dancers of all time, | 0:02:56 | 0:02:59 | |
and will continue to be so. | 0:02:59 | 0:03:00 | |
The first film musicals were crude. | 0:03:03 | 0:03:06 | |
Cameras and microphones had to stay still, | 0:03:06 | 0:03:09 | |
so dancing was difficult to capture. | 0:03:09 | 0:03:12 | |
But the technology quickly improved. | 0:03:12 | 0:03:15 | |
New dance musicals became big box office, | 0:03:15 | 0:03:18 | |
and new kinds of styles danced their way to fame. | 0:03:18 | 0:03:21 | |
How they did it, I just don't know. | 0:03:29 | 0:03:32 | |
They had great technique, | 0:03:32 | 0:03:34 | |
and their musicality, the way they could | 0:03:34 | 0:03:36 | |
interpret a piece of music just through their bodies was fantastic. | 0:03:36 | 0:03:42 | |
Darcey Bussell has always wanted to dance like the performers | 0:03:42 | 0:03:47 | |
she grew up watching. | 0:03:47 | 0:03:49 | |
I think it is a little dream to imagine that I could ever achieve | 0:03:49 | 0:03:53 | |
any of these numbers myself. | 0:03:53 | 0:03:55 | |
Now her moment has come. | 0:03:56 | 0:03:58 | |
In two weeks' time she will go before the camera to dance | 0:03:58 | 0:04:02 | |
her versions of numbers she has always loved. | 0:04:02 | 0:04:05 | |
That worked for me. | 0:04:07 | 0:04:08 | |
Moviegoers came to expect and love a range of dances, | 0:04:10 | 0:04:14 | |
so Darcey is going to perform four classics. | 0:04:14 | 0:04:17 | |
A Fred tap solo... | 0:04:19 | 0:04:21 | |
A Fred and Ginger romantic duet... | 0:04:23 | 0:04:26 | |
A comic trio from Singin' In The Rain... | 0:04:27 | 0:04:30 | |
and a complete reinvention of one of the most influential | 0:04:30 | 0:04:33 | |
dance numbers ever filmed. | 0:04:33 | 0:04:35 | |
It is ambitious, isn't it? | 0:04:37 | 0:04:40 | |
All of it's ambitious because, of course, I've been a ballet dancer | 0:04:40 | 0:04:43 | |
for the last 21-odd years professionally, | 0:04:43 | 0:04:46 | |
and so I haven't had a chance to do many of those other styles. | 0:04:46 | 0:04:51 | |
And so, yeah, I hope it's going to be fun. | 0:04:51 | 0:04:53 | |
I hope it's not going to be terrifying. | 0:04:53 | 0:04:56 | |
-Darcey retired to live in Australia four years ago. -Morning. | 0:04:58 | 0:05:03 | |
Now she's returned. | 0:05:03 | 0:05:04 | |
It's day one of rehearsals in a dance studio in West London. | 0:05:04 | 0:05:09 | |
In just two weeks, she must unlearn the ballet technique | 0:05:13 | 0:05:16 | |
she has been trained in since the age of nine | 0:05:16 | 0:05:18 | |
and make her body move in a completely different way. | 0:05:18 | 0:05:22 | |
Well, no, I think whatever we do we've got to replace ourselves... | 0:05:22 | 0:05:27 | |
Helping her, along with two West End dancers, | 0:05:27 | 0:05:30 | |
is one of Britain's leading choreographers, Kim Gavin. | 0:05:30 | 0:05:34 | |
Maybe um-ba-um-ba and hold it. | 0:05:34 | 0:05:36 | |
Like Darcey, Kim trained at the Royal Ballet School. | 0:05:36 | 0:05:40 | |
But he made his name in commercial choreography, | 0:05:40 | 0:05:44 | |
producing show-stopping numbers for Take That, among many others. | 0:05:44 | 0:05:48 | |
'We're paying tribute to four classic scenes | 0:05:51 | 0:05:54 | |
'and adapting them for ourselves. | 0:05:54 | 0:05:57 | |
-'We're exploring, you know.' -Sorry. | 0:05:58 | 0:06:00 | |
It's very much an exploration of that era | 0:06:01 | 0:06:04 | |
and how difficult the routines were. | 0:06:04 | 0:06:06 | |
First, Darcey will be attempting the iconic Puttin' On The Ritz. | 0:06:11 | 0:06:15 | |
The number poses three main technical difficulties. | 0:06:20 | 0:06:23 | |
Darcey will have to learn a whole new way of using her feet... | 0:06:26 | 0:06:29 | |
..of holding her body, and using props, | 0:06:31 | 0:06:35 | |
all within an extremely complex rhythm. | 0:06:35 | 0:06:38 | |
'When you watch Fred Astaire doing Puttin' On The Ritz, | 0:06:42 | 0:06:45 | |
'my brain understands how difficult it is,' | 0:06:45 | 0:06:48 | |
but my heart understands how gorgeous it is just to watch it, | 0:06:48 | 0:06:52 | |
and that's what great dancing's all about. | 0:06:52 | 0:06:54 | |
Fred Astaire himself said that rehearsing this solo | 0:06:56 | 0:06:59 | |
took five weeks of backbreaking physical work. | 0:06:59 | 0:07:03 | |
Suddenly he goes through that glass door and there they are, | 0:07:05 | 0:07:10 | |
'an army of Freds.' | 0:07:10 | 0:07:12 | |
'It's just unbelievable!' | 0:07:14 | 0:07:17 | |
'I think, with Puttin' On The Ritz, apart from being a classic piece, | 0:07:20 | 0:07:23 | |
'you look at and go, "How did they do that?" | 0:07:23 | 0:07:25 | |
'Then, in a rehearsal room,' | 0:07:25 | 0:07:27 | |
it's much more of a realisation once you've put it on your own body. | 0:07:27 | 0:07:31 | |
-It's not so taking. -I'm going... -Yeah. | 0:07:31 | 0:07:35 | |
But you're thinking more that the stick is kind of there. | 0:07:35 | 0:07:39 | |
-Controlling the move. -Yeah. | 0:07:39 | 0:07:42 | |
Ballet is all about effort and holding the leg as high as you can, | 0:07:47 | 0:07:52 | |
or the turnout, keeping your feet pointed all the time. | 0:07:52 | 0:07:58 | |
And I think that what the big jump is to the styles that we're doing | 0:07:58 | 0:08:02 | |
is more about feel and being relaxed. | 0:08:02 | 0:08:05 | |
Just relax your feet, be sloppy with your feet a bit more. | 0:08:05 | 0:08:08 | |
It's difficult to be sloppy. | 0:08:08 | 0:08:10 | |
I know, but you're almost pointing your feet between each shuffle. | 0:08:10 | 0:08:14 | |
-I want you to dance like that. -I know. | 0:08:14 | 0:08:16 | |
I want you to walk around like that. | 0:08:16 | 0:08:18 | |
'It's not about having a stiff back, | 0:08:18 | 0:08:19 | |
'having turnout, having poise and strength.' | 0:08:19 | 0:08:22 | |
One last time from the top. | 0:08:22 | 0:08:23 | |
'It's about relaxing into the thing | 0:08:25 | 0:08:27 | |
'and expressing yourself within it.' | 0:08:27 | 0:08:31 | |
Ah-ha-ha! | 0:08:31 | 0:08:32 | |
'And I think that's the difference with Darcey. | 0:08:32 | 0:08:34 | |
'I think it's about the tap and the rhythms and making it smooth, | 0:08:34 | 0:08:38 | |
but it's not about the effort that you put in that she would do | 0:08:38 | 0:08:41 | |
if she did a ballet. | 0:08:41 | 0:08:42 | |
Tap teaches you things that lots of ballet people never know. | 0:08:46 | 0:08:49 | |
'You are thinking percussively and you are thinking down. | 0:08:53 | 0:08:57 | |
Ballet is generally an art of the aerial, going up. | 0:08:57 | 0:09:00 | |
In tap, you're going down into the floor. You've got to think hard. | 0:09:00 | 0:09:03 | |
You have to think of making a noise rather than never making a noise. | 0:09:03 | 0:09:07 | |
And then it is extraordinary speed with the feet. | 0:09:07 | 0:09:09 | |
Of course, a ballet dancer moves fast with the foot | 0:09:09 | 0:09:12 | |
but they're using the foot differently. | 0:09:12 | 0:09:14 | |
They're seldom bringing down the heel. | 0:09:14 | 0:09:16 | |
When they move fast with the feat they're normally covering ground | 0:09:16 | 0:09:21 | |
in a very different way from the way tap dancers are. | 0:09:21 | 0:09:24 | |
So there is Fred going "b-r-r-r-m" in ways that I can't even analyse. | 0:09:24 | 0:09:27 | |
Any ballet dancer's just going to have to think of the whole | 0:09:29 | 0:09:33 | |
musculature from the hip down in a whole new way. | 0:09:33 | 0:09:36 | |
Fred's special skill was to make everything he did look natural | 0:09:40 | 0:09:44 | |
and make every extraordinary movement look like everyone | 0:09:44 | 0:09:48 | |
could do it if they just chose to. | 0:09:48 | 0:09:51 | |
And that's quite a skill. | 0:09:51 | 0:09:52 | |
I would imagine, without masses of experience, | 0:09:55 | 0:09:58 | |
it's extremely difficult. | 0:09:58 | 0:10:00 | |
It feels like it's something that maybe you need to have been doing | 0:10:01 | 0:10:05 | |
all your life, you know, till it's integral to the way you move, | 0:10:05 | 0:10:08 | |
so that's difficult. | 0:10:08 | 0:10:10 | |
Fred Astaire rehearsed every single routine for weeks | 0:10:17 | 0:10:20 | |
before he was satisfied. | 0:10:20 | 0:10:21 | |
But Darcey only has a fortnight to rehearse four routines. | 0:10:21 | 0:10:26 | |
And tap was forbidden at ballet school because it was thought | 0:10:26 | 0:10:30 | |
that it weakened dancers' ankles. | 0:10:30 | 0:10:33 | |
One, two, three... | 0:10:33 | 0:10:34 | |
SHE LAUGHS | 0:10:34 | 0:10:36 | |
Tap dancing is something I suppose | 0:10:36 | 0:10:38 | |
I've always been very passionate about, watching the films, | 0:10:38 | 0:10:42 | |
and it is incredibly exciting to watch. | 0:10:42 | 0:10:44 | |
'And it would be nice to think | 0:10:44 | 0:10:47 | |
'that I could achieve some of that excitement.' | 0:10:47 | 0:10:50 | |
-Did the first bit right. -And again. | 0:10:50 | 0:10:53 | |
Both Nathan Clark and Dougie Mills are experts in tap. | 0:10:53 | 0:10:57 | |
Bap-bap-bap. | 0:10:57 | 0:10:59 | |
-Do it without the turn for now. -I need to turn. Sorry. | 0:10:59 | 0:11:04 | |
-I'm too old, aren't I? That's my problem. -Here we go. | 0:11:04 | 0:11:06 | |
One, two, three. | 0:11:06 | 0:11:08 | |
'When you watch most tap dancers, their hands and arms are basically | 0:11:08 | 0:11:12 | |
'just hanging there.' | 0:11:12 | 0:11:13 | |
With Fred Astaire, everything is used. | 0:11:13 | 0:11:16 | |
OK, his feet are going, but so are his arms and so are his hands. | 0:11:16 | 0:11:21 | |
Astaire's style with the upper body, | 0:11:21 | 0:11:24 | |
which is not that of any other tap dancer, this way of making | 0:11:24 | 0:11:27 | |
a line throughout the body, making shapes, so you really are | 0:11:27 | 0:11:31 | |
turning a technique into style, physical style - extraordinary. | 0:11:31 | 0:11:36 | |
And the way he uses the cane, | 0:11:38 | 0:11:40 | |
the way the cane is used as extra rhythm throughout, | 0:11:40 | 0:11:43 | |
it's as though he's got three legs. | 0:11:43 | 0:11:46 | |
Hey! That's it. | 0:11:54 | 0:11:57 | |
Fred Astaire wasn't just a dancer, | 0:11:59 | 0:12:02 | |
he was a drummer and a pianist. | 0:12:02 | 0:12:03 | |
There are recordings of him doing all these things if you see him | 0:12:03 | 0:12:07 | |
in a wonderful movie where he has a jazz number with a drum set. | 0:12:07 | 0:12:11 | |
And you see him, in one take, with his feet playing | 0:12:11 | 0:12:14 | |
the drums as well as his hands. | 0:12:14 | 0:12:17 | |
It is great music and it's great dancing. | 0:12:17 | 0:12:21 | |
-How was that? -My first rehearsal day after about three years. | 0:12:34 | 0:12:39 | |
SHE LAUGHS | 0:12:39 | 0:12:41 | |
How was it? | 0:12:41 | 0:12:43 | |
Um, well, it feels all lovely now because you're so hot and sweaty | 0:12:43 | 0:12:46 | |
that you can't feel a thing. | 0:12:46 | 0:12:48 | |
I'm just conscious of what it's going to feel like | 0:12:48 | 0:12:50 | |
when I wake up in the morning! SHE LAUGHS | 0:12:50 | 0:12:53 | |
My body is not used to this any more. | 0:12:53 | 0:12:56 | |
Just going to have a stretch. | 0:12:58 | 0:13:00 | |
'Camera.' | 0:13:04 | 0:13:06 | |
Don't rush. One, one, stay, down. | 0:13:06 | 0:13:09 | |
Darcey has come to ask for advice from a man who has already | 0:13:09 | 0:13:13 | |
brought Fred's style to modern audiences by fusing it with ballet. | 0:13:13 | 0:13:17 | |
And show it. One... | 0:13:17 | 0:13:19 | |
Derek Deane. | 0:13:19 | 0:13:21 | |
Fast, fast, fast, fast. | 0:13:21 | 0:13:25 | |
Good. One... | 0:13:25 | 0:13:26 | |
He is rehearsing the English National Ballet | 0:13:26 | 0:13:29 | |
in his production of Strictly Gershwin, | 0:13:29 | 0:13:32 | |
in which Darcey's tap mentor, Dougie Mills, is co-starring. | 0:13:32 | 0:13:36 | |
And down. | 0:13:36 | 0:13:38 | |
Mwah! Sharp, sharp, sharp, sharp. | 0:13:40 | 0:13:45 | |
One, one. | 0:13:45 | 0:13:46 | |
That's good. Come in, boys, in. | 0:13:50 | 0:13:52 | |
OK. | 0:13:58 | 0:13:59 | |
Well, Fred Astaire was obviously the greatest dancer that ever lived, really, wasn't he? | 0:14:01 | 0:14:06 | |
I know, and he wasn't even that good looking, was he? | 0:14:06 | 0:14:09 | |
-No, not even that good looking. -It just shows you anyone can do it. | 0:14:09 | 0:14:12 | |
True, but what enormous charisma. | 0:14:12 | 0:14:15 | |
And if you look at all those old films, | 0:14:15 | 0:14:17 | |
the energy levels are enormous. | 0:14:17 | 0:14:20 | |
They make it all look terribly easy, they make it look terribly simple, | 0:14:20 | 0:14:23 | |
but your energy levels have to be at full blast to be able to show that. | 0:14:23 | 0:14:29 | |
-I have to say, I'm a bit scared. -Well, I don't think you should be. | 0:14:29 | 0:14:32 | |
It's about how, it's about where the eyes are going, | 0:14:32 | 0:14:35 | |
it's about where the head is going. Is the boy behind? | 0:14:35 | 0:14:38 | |
-There's so much... -You're giving me so many tips. | 0:14:38 | 0:14:42 | |
There's so much luggage there that makes it look right. | 0:14:42 | 0:14:46 | |
You are taken more in by the dance. | 0:14:46 | 0:14:48 | |
-And with the style. -And the way he moved. | 0:14:48 | 0:14:51 | |
-And the most simple step, made it look extraordinary. -Absolutely. | 0:14:51 | 0:14:57 | |
I think you're very brave to do this. I think you're very brave. | 0:14:57 | 0:15:00 | |
I think it's a great challenge for you to try and do it, | 0:15:00 | 0:15:03 | |
but you know, what they had was invention, musicality and style. | 0:15:03 | 0:15:09 | |
So, you obviously have to be able to create | 0:15:09 | 0:15:13 | |
what they first developed, which is not impossible at all, | 0:15:13 | 0:15:17 | |
but very, very hard because it was so set on those people, | 0:15:17 | 0:15:20 | |
do you know what I mean? | 0:15:20 | 0:15:22 | |
-As we said, their characters. -Their characters and how they were. | 0:15:22 | 0:15:26 | |
It scares me to even think that I'm trying to attempt it. | 0:15:26 | 0:15:29 | |
-But then I'm also very excited at the same time. -Of course, of course. | 0:15:29 | 0:15:33 | |
-It's a challenge for you. -I wish I was younger. | 0:15:33 | 0:15:35 | |
-Yes. -You're going out of your comfort zone as well. | 0:15:35 | 0:15:38 | |
You're going to find this very amusing, I know. | 0:15:38 | 0:15:41 | |
HE LAUGHS | 0:15:41 | 0:15:42 | |
Oh, I like that! | 0:15:52 | 0:15:53 | |
Dougie Mills and Paul Robinson, two of the company's stars, | 0:15:53 | 0:15:58 | |
have been inspired by the history of tap. | 0:15:58 | 0:16:01 | |
-Woo! -OK, OK, OK.... | 0:16:01 | 0:16:04 | |
-We're actually on the wrong side. -Are you serious? -Yes, we normally click. | 0:16:04 | 0:16:09 | |
But we're the other way. We always miss that though. | 0:16:09 | 0:16:12 | |
We always miss that. | 0:16:12 | 0:16:13 | |
I'm just trying to touch on the history of tap | 0:16:13 | 0:16:16 | |
and where it really started. | 0:16:16 | 0:16:18 | |
Can you give me any ideas | 0:16:18 | 0:16:20 | |
or your inspirations of where tap inspired you? | 0:16:20 | 0:16:25 | |
It was Fred Astaire and Gene Kelly. That was my... | 0:16:25 | 0:16:30 | |
-Earliest memory? -Yes. -Yes. Inspirations, isn't it? | 0:16:30 | 0:16:33 | |
I'd go back maybe only 10 years or something before that | 0:16:33 | 0:16:37 | |
to two people that really impressed me were the Nicolas brothers, | 0:16:37 | 0:16:41 | |
were so acrobatic and their feet were amazing. | 0:16:41 | 0:16:44 | |
-I don't know if it was the brother thing, how in sync they were. -They could feed off each other. | 0:16:44 | 0:16:49 | |
Yeah, and I think they started the whole role of film | 0:16:49 | 0:16:51 | |
which moved to Fred Astaire and Gene Kelly | 0:16:51 | 0:16:53 | |
and that was definitely our inspiration. | 0:16:53 | 0:16:55 | |
-We try to do it the best justice possible. -Exactly. Major respect. | 0:16:55 | 0:16:59 | |
Yes, absolutely. | 0:16:59 | 0:17:00 | |
Give me some tips of what kind of hits you straightaway | 0:17:00 | 0:17:03 | |
if you think about Puttin' On The Ritz. | 0:17:03 | 0:17:06 | |
-What is your first image? -I would say fluidity with a cane, | 0:17:06 | 0:17:09 | |
-being it's so fluid. -Ease, yes. -The way he just, the moves, the cane. | 0:17:09 | 0:17:14 | |
-From one move to the other. -The cane is so in sync with his body | 0:17:14 | 0:17:18 | |
and the way he moves it round his body and stuff. | 0:17:18 | 0:17:20 | |
-It's just like... -The cane is my partner. | 0:17:20 | 0:17:23 | |
The style with Fred Astaire's stick and positioning and... | 0:17:24 | 0:17:29 | |
and all those shoulder moves and... I've got a lot to think about. | 0:17:29 | 0:17:34 | |
But it's all about rehearsal and if I go over it, I think, | 0:17:34 | 0:17:38 | |
they also mentioned a stick | 0:17:38 | 0:17:40 | |
and having that relationship with the stick | 0:17:40 | 0:17:43 | |
that it's actually your partner that Fred Astaire used that stick | 0:17:43 | 0:17:47 | |
as part of his moves, it wasn't just an added on prop. | 0:17:47 | 0:17:51 | |
Worries me a bit as well. | 0:17:51 | 0:17:54 | |
But I'll just have to take it to bed with me. | 0:17:54 | 0:17:57 | |
SHE LAUGHS | 0:17:57 | 0:17:58 | |
That doesn't sound right, does it?! | 0:17:58 | 0:18:01 | |
We know what you mean! | 0:18:01 | 0:18:03 | |
I'll just sleep on it. | 0:18:03 | 0:18:05 | |
I'll have to sleep, that doesn't sound right either! | 0:18:05 | 0:18:09 | |
That sounds awful. | 0:18:09 | 0:18:11 | |
Musicals were big business for a year after the coming of sound, | 0:18:12 | 0:18:16 | |
but then, the depression hit Hollywood hard. | 0:18:16 | 0:18:19 | |
One studio, RKO, even faced bankruptcy. | 0:18:19 | 0:18:23 | |
NEWS PIPS | 0:18:23 | 0:18:24 | |
But then, a dance musical with a performer new to movies | 0:18:24 | 0:18:27 | |
called Fred Astaire became a surprise hit. | 0:18:27 | 0:18:31 | |
LIVELY MUSIC | 0:18:31 | 0:18:32 | |
Fred's skills in the theatre | 0:18:35 | 0:18:36 | |
had attracted the interest of Hollywood producers relatively late. | 0:18:36 | 0:18:40 | |
He was 34 by the time he made his first films in 1933. | 0:18:40 | 0:18:44 | |
He and his sister Adele had been performing on stage, | 0:18:46 | 0:18:51 | |
in vaudeville, later on, on Broadway | 0:18:51 | 0:18:54 | |
and here in London from the ages of five and seven. | 0:18:54 | 0:18:58 | |
He and Adele had done a screen test back in the 20s | 0:19:00 | 0:19:04 | |
and this famous quote attributed to an anonymous studio executive | 0:19:04 | 0:19:10 | |
which is, "Can't act, can't sing, | 0:19:10 | 0:19:14 | |
"balding, also dances." | 0:19:14 | 0:19:16 | |
Before sound, a man who looked like Fred would never have been a star. | 0:19:17 | 0:19:22 | |
But Fred's dancing and singing | 0:19:22 | 0:19:24 | |
made him one of the biggest names of the 1930s | 0:19:24 | 0:19:27 | |
and saved RKO itself from ruin. | 0:19:27 | 0:19:30 | |
He took inspiration from wherever he could find it. | 0:19:35 | 0:19:39 | |
For tap, he borrowed dance styles he saw in the 1920s Harlem. | 0:19:39 | 0:19:43 | |
In this case, given an innovative treatment | 0:19:46 | 0:19:49 | |
within a bygone tradition of the minstrel show. | 0:19:49 | 0:19:52 | |
From the 20s onwards, tap meeting ballroom, | 0:19:59 | 0:20:02 | |
this is the great confluence | 0:20:02 | 0:20:04 | |
and it was happening partly with the black African American artists, | 0:20:04 | 0:20:08 | |
but partly with the high age of 20s, 30s elegance | 0:20:08 | 0:20:13 | |
also, so it's the overlap of both white and black areas of society. | 0:20:13 | 0:20:18 | |
Plenty of people feel that tap belongs to black artists | 0:20:19 | 0:20:23 | |
and that Fred Astaire was an interloper. | 0:20:23 | 0:20:26 | |
For me, he's as great a tap dancer as there ever was. | 0:20:26 | 0:20:29 | |
-I'd just like to go from the beginning again. -Yes. -Sorry. | 0:20:33 | 0:20:36 | |
MUSIC: "Puttin' On The Ritz" | 0:20:36 | 0:20:39 | |
It's day three of the Puttin' On The Ritz rehearsals. | 0:20:39 | 0:20:42 | |
Darcey now has to put together the moves, | 0:20:42 | 0:20:45 | |
the cane work and the tapping. | 0:20:45 | 0:20:47 | |
And Darcey's knee, which went through major ligament surgery | 0:20:49 | 0:20:52 | |
five months ago, is holding up well. So far. | 0:20:52 | 0:20:55 | |
'She's recovering from the knee injury, | 0:20:56 | 0:21:00 | |
'which is hard,' | 0:21:00 | 0:21:03 | |
especially the tap, it's hard | 0:21:03 | 0:21:05 | |
because you're completely pounding on one knee. | 0:21:05 | 0:21:08 | |
I think she's certainly got guts. | 0:21:11 | 0:21:15 | |
She snapped a tendon in the knee, | 0:21:19 | 0:21:21 | |
called the anterior cruciate ligament. | 0:21:21 | 0:21:23 | |
She must adapt her dancing accordingly. | 0:21:23 | 0:21:27 | |
'I was doing some dance classes just for fun | 0:21:27 | 0:21:31 | |
'and I landed from a jump. Um, I dislocated my knee.' | 0:21:31 | 0:21:34 | |
'And I had to go and see a physio surgeon that day.' | 0:21:37 | 0:21:40 | |
'And they said that I had snapped it.' | 0:21:42 | 0:21:44 | |
And I said, "But I know, I've seen dancers snap Achilles and ACLs | 0:21:46 | 0:21:52 | |
"and it goes off like a gunshot." | 0:21:52 | 0:21:54 | |
'I said there was no sound. | 0:21:56 | 0:21:57 | |
'They said, "Probably because of your career,' | 0:21:57 | 0:22:00 | |
"there wasn't much of a tendon left anyway," | 0:22:00 | 0:22:02 | |
cos I have had two operations on the same leg, on my ankle. | 0:22:02 | 0:22:06 | |
Seven, eight, one... | 0:22:06 | 0:22:07 | |
Basically they cut your hamstring and they graft it on with two screws. | 0:22:07 | 0:22:12 | |
'Normally it would be you wouldn't dance on it, probably, | 0:22:13 | 0:22:17 | |
'until eight months after the operation. | 0:22:17 | 0:22:21 | |
'So what I mustn't do on it is jump.' | 0:22:21 | 0:22:25 | |
Um, any large jumps, I can do small jumps. | 0:22:25 | 0:22:28 | |
But if you have a choreographer that knows you, you can adapt. | 0:22:32 | 0:22:36 | |
SHE LAUGHS | 0:22:42 | 0:22:43 | |
They've just pulled out of the insurance. | 0:22:43 | 0:22:45 | |
I'll use it as my other knee. | 0:22:45 | 0:22:48 | |
one, two... | 0:22:48 | 0:22:50 | |
The next day, Darcey's family arrive to give moral support. | 0:22:50 | 0:22:53 | |
-Hello. -Hello! | 0:22:53 | 0:22:55 | |
-Hi! Hello. -Hi, Angus. -Hey, Jim. How are you? | 0:22:55 | 0:22:58 | |
-Good, thank you. -Nice to see you. | 0:22:58 | 0:23:02 | |
-Oi, you. -I'm all sweaty, sorry. | 0:23:02 | 0:23:04 | |
Are you going to do a little run for us? | 0:23:05 | 0:23:08 | |
Her husband Angus is worried | 0:23:08 | 0:23:10 | |
about the physical toll the rehearsals are taking. | 0:23:10 | 0:23:13 | |
-Go and sit down. -How's your knee? -Yes, knees. -OK. | 0:23:13 | 0:23:16 | |
MUSIC STARTS | 0:23:20 | 0:23:21 | |
SHE SCREECHES | 0:23:27 | 0:23:28 | |
I'd missed this. | 0:23:32 | 0:23:33 | |
Oh, my bottom hurts. | 0:23:33 | 0:23:35 | |
-And then keep moving straightaway. -Don't stop. | 0:23:35 | 0:23:37 | |
Mummy was really good. | 0:23:37 | 0:23:39 | |
When you're older, you can be like Mummy, but singing. | 0:23:39 | 0:23:43 | |
You don't want to be a dancer as well? | 0:23:43 | 0:23:45 | |
I would like to be a dancer. | 0:23:45 | 0:23:47 | |
So you can be dancing and singing, can't you? | 0:23:47 | 0:23:49 | |
You just have to work hard, like Mummy. | 0:23:51 | 0:23:53 | |
She works hard, doesn't she? | 0:23:53 | 0:23:55 | |
Just work hard. Mummy can teach you everything she knows about dance. | 0:23:55 | 0:24:00 | |
-She already has. -She's taught you everything already? | 0:24:00 | 0:24:03 | |
Tap isn't Darcey's strongest suit. | 0:24:06 | 0:24:11 | |
So she has to work very hard | 0:24:11 | 0:24:12 | |
to get to six, seven, eight out of 10 by HER standards. | 0:24:12 | 0:24:16 | |
Plus having had the ACL on her knee only five months ago, | 0:24:16 | 0:24:21 | |
this is right border line. | 0:24:21 | 0:24:23 | |
Darcey's very careful, | 0:24:23 | 0:24:24 | |
but we are at the minimum threshold of what she would normally do. | 0:24:24 | 0:24:29 | |
So, we've got our fingers crossed. | 0:24:29 | 0:24:32 | |
We've really got our fingers crossed | 0:24:32 | 0:24:35 | |
that she will get through this program. | 0:24:35 | 0:24:37 | |
-Ah! -OK. | 0:24:47 | 0:24:48 | |
APPLAUSE Doesn't hurt so much now. | 0:24:48 | 0:24:50 | |
It is odd, doing it in my 40s. | 0:24:50 | 0:24:54 | |
I'm not used to being old | 0:24:54 | 0:24:55 | |
and the recovery period after each day being really tough. | 0:24:55 | 0:25:00 | |
I have sort of bowed down | 0:25:00 | 0:25:01 | |
to my body is just going to hurt for the next three weeks. | 0:25:01 | 0:25:05 | |
MUSIC | 0:25:05 | 0:25:08 | |
Hi. Is this studio two? | 0:25:14 | 0:25:16 | |
-That way. -Great, thank you. | 0:25:16 | 0:25:19 | |
The music Darcey will dance to is being recorded | 0:25:20 | 0:25:23 | |
specially for her at the legendary Abbey Road Studio Two. | 0:25:23 | 0:25:27 | |
The Beatles among others famously used this studio. | 0:25:27 | 0:25:32 | |
And now conductor John Wilson is here, | 0:25:32 | 0:25:34 | |
recording music otherwise only available in the original mono. | 0:25:34 | 0:25:39 | |
John Wilson's sell-out proms and concerts of Hollywood classics | 0:25:41 | 0:25:45 | |
are attracting new audiences to this music. | 0:25:45 | 0:25:48 | |
Start the letter "I" with the pickup from the clarinets. | 0:25:59 | 0:26:03 | |
-Oh, this is Darcey. Hello. -Hello. | 0:26:05 | 0:26:08 | |
Shall we welcome her? | 0:26:08 | 0:26:09 | |
APPLAUSE | 0:26:09 | 0:26:11 | |
We're just about to try and do this nicely for you. | 0:26:13 | 0:26:16 | |
He has assembled a 63-piece orchestra dedicated to recording | 0:26:16 | 0:26:20 | |
this music faithfully for the first time since these movies were made. | 0:26:20 | 0:26:25 | |
Yes. One, two, one, two... | 0:26:25 | 0:26:28 | |
MUSIC: "Puttin' On The Ritz" | 0:26:28 | 0:26:31 | |
OK, we'll do that as an edit. That's it. | 0:27:12 | 0:27:16 | |
-..Faster the easier it gets. -For me? Slower! | 0:27:17 | 0:27:21 | |
SHE LAUGHS | 0:27:21 | 0:27:22 | |
Because I'm not a tap dancer. | 0:27:22 | 0:27:25 | |
I'm pretending. | 0:27:25 | 0:27:27 | |
That's a good one for the violin lines, I'm told. | 0:27:27 | 0:27:30 | |
Are you going to have a listen to it, yes? | 0:27:30 | 0:27:33 | |
MUSIC REACHES CRESCENDO | 0:27:37 | 0:27:40 | |
LAUGHTER AND SQUEALING | 0:27:40 | 0:27:43 | |
I'm in shock. SHE LAUGHS | 0:27:43 | 0:27:46 | |
Not that I wasn't expecting it to be good but, um... | 0:27:47 | 0:27:52 | |
slightly too professional for me! | 0:27:52 | 0:27:56 | |
John has made it his mission accurately to recreate music | 0:27:58 | 0:28:03 | |
that was once thought lost forever. | 0:28:03 | 0:28:05 | |
In 1969, MGM was taken over and the room full of scores | 0:28:05 | 0:28:12 | |
and all the orchestral parts was destroyed. | 0:28:12 | 0:28:15 | |
One Saturday morning, every note of music written for every MGM film | 0:28:16 | 0:28:21 | |
was taken away and used as landfill for a golf course. | 0:28:21 | 0:28:26 | |
So that music no longer exists. | 0:28:26 | 0:28:28 | |
So I had no choice other than to transcribe them from the soundtrack. | 0:28:29 | 0:28:34 | |
But it's music I've loved all my life | 0:28:34 | 0:28:37 | |
and for the past decade I've been restoring this music | 0:28:37 | 0:28:40 | |
by listening to the soundtracks. Laborious though that may be, | 0:28:40 | 0:28:43 | |
one is restoring great works of American popular culture. | 0:28:43 | 0:28:49 | |
All right, I know how to fix that. | 0:28:49 | 0:28:52 | |
And they're as fresh now to listen to, especially live, | 0:28:52 | 0:28:56 | |
as they were when they were first recorded. | 0:28:56 | 0:28:59 | |
One, two, two, two... | 0:28:59 | 0:29:02 | |
MUSIC STARTS | 0:29:02 | 0:29:04 | |
'It's really impressive. | 0:29:07 | 0:29:09 | |
'And seeing them all kind of furiously getting in every note, | 0:29:09 | 0:29:14 | |
'I feel incredibly honoured, actually. | 0:29:14 | 0:29:16 | |
'It sort of wants me to make it even more perfect | 0:29:16 | 0:29:20 | |
'and I'm not going to be satisfied unless it is.' | 0:29:20 | 0:29:23 | |
Five. MUSIC CONTINUES | 0:29:30 | 0:29:32 | |
My groin. SHE WINCES | 0:30:49 | 0:30:52 | |
-Which number is this? -This is just the last toe, heel, toe, heel. | 0:30:55 | 0:31:00 | |
And into the nine, cos we haven't got a clean one yet. | 0:31:00 | 0:31:03 | |
In these movies, the sound of the taps was added separately. | 0:31:05 | 0:31:10 | |
Unusually, Fred always did his own, | 0:31:10 | 0:31:12 | |
and Darcey comes to what's known as a Foley studio | 0:31:12 | 0:31:16 | |
to try to do the same. | 0:31:16 | 0:31:17 | |
-Can I do that again? -One more. Just the same place. | 0:31:22 | 0:31:26 | |
With the music and the taps in the can and barely a fortnight | 0:31:27 | 0:31:31 | |
after arriving London, it's Darcey's first film studio day. | 0:31:31 | 0:31:34 | |
I'm not limping. I'm all right. | 0:31:34 | 0:31:37 | |
< Morning, Darcey! | 0:31:37 | 0:31:39 | |
You were going to push in there. | 0:31:40 | 0:31:43 | |
One, two, three, four, bring it in front of you. | 0:31:43 | 0:31:45 | |
Nathan Clark, having helped coach Darcey, will now be filling in | 0:31:45 | 0:31:49 | |
as the army of Freds after she goes through the mirrors. | 0:31:49 | 0:31:53 | |
-OK. -Cameras rolling. -Have fun, enjoy, and cue music. | 0:31:53 | 0:31:58 | |
'My body's feeling like it used to feel, a bit beaten up. | 0:35:03 | 0:35:07 | |
'But I feel really honoured | 0:35:07 | 0:35:09 | |
'that I got to actually work on that choreography | 0:35:09 | 0:35:12 | |
'and just appreciate what a genius Fred Astaire was.' | 0:35:12 | 0:35:15 | |
I probably didn't give him the justice he should have had | 0:35:15 | 0:35:20 | |
in Puttin' On The Ritz, but I'm really glad I attempted it. | 0:35:20 | 0:35:24 | |
I've got a couple of blisters in my tap shoes for a change | 0:35:24 | 0:35:28 | |
instead of my point shoes. | 0:35:28 | 0:35:30 | |
Everyone loves tap dancing. The problem is with tap dancing, | 0:35:34 | 0:35:38 | |
it's a thing you have to do basically on your own, | 0:35:38 | 0:35:40 | |
it's an individual thing. And people want to dance | 0:35:40 | 0:35:43 | |
to meet the opposite sex, that's what dancing was all about. | 0:35:43 | 0:35:47 | |
Boy meets girl, girl meets boy, that's what you wanted. | 0:35:47 | 0:35:49 | |
For Darcey's second number, | 0:35:52 | 0:35:53 | |
she has to move into a very different type of dance. | 0:35:53 | 0:35:57 | |
The romantic duet. | 0:35:57 | 0:36:00 | |
Darcey has come to one of the last remaining ballrooms in Britain. | 0:36:00 | 0:36:05 | |
These dance styles were once all the rage. | 0:36:05 | 0:36:08 | |
My dad, who used to go dancing a lot, | 0:36:11 | 0:36:15 | |
has spoken to me about, everyone went dancing. Everyone. | 0:36:15 | 0:36:21 | |
'Everyone wanted to dance | 0:36:23 | 0:36:24 | |
'because you all wanted to be Fred Astaire or Ginger Rogers. | 0:36:24 | 0:36:27 | |
'They would watch the movies and see a little move | 0:36:27 | 0:36:31 | |
'and then they would try and interpret that. | 0:36:31 | 0:36:33 | |
'My dad would practise with his sister in the front room.' | 0:36:33 | 0:36:36 | |
"Let's try and do that thing Fred and Ginger did." | 0:36:36 | 0:36:39 | |
And they'd practise it. | 0:36:39 | 0:36:40 | |
And when he'd get to the ballroom, get the girl and give it a go! | 0:36:40 | 0:36:44 | |
The dances that swept Britain were directly influenced | 0:36:46 | 0:36:51 | |
by the Hollywood dream factory. | 0:36:51 | 0:36:53 | |
And when RKO paired an at first reluctant Fred | 0:36:53 | 0:36:57 | |
with a certain Ginger Rogers, | 0:36:57 | 0:36:59 | |
the most enduring and celebrated duo in dance was formed. | 0:36:59 | 0:37:03 | |
Of the hundreds of films RKO made, | 0:37:05 | 0:37:08 | |
the Astaire-Rogers pictures were among its most profitable. | 0:37:08 | 0:37:11 | |
Well, you know, a lot of the dances that are ballroom dances | 0:37:13 | 0:37:16 | |
actually come from America. | 0:37:16 | 0:37:19 | |
The foxtrot, that's a Hollywood dance. | 0:37:19 | 0:37:21 | |
The quickstep comes from the Charleston. | 0:37:21 | 0:37:24 | |
So that's another dance that comes from America | 0:37:24 | 0:37:28 | |
and has developed into one of our ballroom dances. | 0:37:28 | 0:37:30 | |
And I think when people went to the cinema, | 0:37:30 | 0:37:33 | |
they wanted to be Astaire and Ginger Rogers. | 0:37:33 | 0:37:37 | |
The duo changed not just Hollywood | 0:37:41 | 0:37:44 | |
but how couples on both sides of the Atlantic danced. | 0:37:44 | 0:37:48 | |
Dances from their films became crazes, | 0:37:48 | 0:37:52 | |
such as the hit of 1934, the Continental. | 0:37:52 | 0:37:56 | |
Retro DJs the Shellac Sisters play these very records today. | 0:37:59 | 0:38:04 | |
-And would this have first come off a film? -Yes. | 0:38:04 | 0:38:07 | |
As people saw the dancing, Fred and Ginger doing amazing things, | 0:38:07 | 0:38:12 | |
and probably thought, "Hmm, if I get a hold of that 78," | 0:38:12 | 0:38:14 | |
you know, "Me and the wife can learn those steps | 0:38:14 | 0:38:17 | |
"and then we'd wow them on the dancefloor." | 0:38:17 | 0:38:19 | |
# It has a passion, the Continental | 0:38:21 | 0:38:24 | |
# An invitation to moonlight and romance | 0:38:24 | 0:38:26 | |
# It's quite the fashion, the Continental | 0:38:26 | 0:38:28 | |
# Because you tell of your love while you dance | 0:38:28 | 0:38:31 | |
# Your lips whisper so tenderly | 0:38:31 | 0:38:35 | |
# Her eyes answer your song | 0:38:35 | 0:38:40 | |
# Two bodies swaying, the Continental. # | 0:38:40 | 0:38:43 | |
'Why do you think it became a craze?' | 0:38:43 | 0:38:44 | |
'I think with the Continental, it was a bit risque, wasn't it? | 0:38:44 | 0:38:47 | |
'Because they kiss in the middle.' | 0:38:47 | 0:38:49 | |
And that would have been quite unusual, to do that in public. | 0:38:49 | 0:38:52 | |
-In that time as well. -Yeah. | 0:38:52 | 0:38:54 | |
# Kiss while you're dancing. # | 0:38:54 | 0:38:57 | |
'So to have a dance where that was part of the dance... | 0:38:57 | 0:38:59 | |
-'It was allowed.' -'I think it was a boys' dance.' | 0:38:59 | 0:39:02 | |
-It was choreographically allowed in the music. -Exactly! | 0:39:02 | 0:39:05 | |
I'm sure all the men rushed to the dance studios to learn that one! | 0:39:05 | 0:39:09 | |
You can imagine the queues outside! | 0:39:09 | 0:39:11 | |
Yeah, in that era, it would have been very undone. | 0:39:11 | 0:39:14 | |
Some dances were brief crazes, | 0:39:16 | 0:39:19 | |
but other Fred and Ginger numbers have endured forever. | 0:39:19 | 0:39:22 | |
In her version of Cheek To Cheek, | 0:39:25 | 0:39:27 | |
from the movie Top Hat, Darcey will be taking the Ginger Rogers role. | 0:39:27 | 0:39:32 | |
I wonder what's keeping Horace. | 0:39:33 | 0:39:36 | |
'It's always a question with dancing all the time, | 0:39:39 | 0:39:42 | |
'how much is it about sex?' | 0:39:42 | 0:39:43 | |
-I'm afraid I'm going to have a headache. -Don't go. | 0:39:43 | 0:39:46 | |
This is a meeting I've been planning a long time. | 0:39:46 | 0:39:50 | |
'Katharine Hepburn's famously meant to have said | 0:39:50 | 0:39:52 | |
'that Ginger gave him sex and he gave her class.' | 0:39:52 | 0:39:56 | |
Nice to see you again, Miss Tremont. | 0:39:56 | 0:39:58 | |
You robbed me of the pleasure of introducing you two. | 0:40:01 | 0:40:04 | |
You've already met! | 0:40:04 | 0:40:05 | |
The chemistry between him and Ginger was never equalled ever again. | 0:40:05 | 0:40:11 | |
'I think, physically, they were such perfect complements, | 0:40:18 | 0:40:23 | |
both very lissome, both very lithe. | 0:40:23 | 0:40:25 | |
She was just the right body shape to match his slight figure. | 0:40:25 | 0:40:30 | |
'And it's a very good example of how they told a story in dance. | 0:40:34 | 0:40:38 | |
'It's very much part of their characters, | 0:40:38 | 0:40:41 | |
'their thought processes, their feelings, | 0:40:41 | 0:40:44 | |
'all of which their wonderful fluency of movement communicates.' | 0:40:44 | 0:40:48 | |
Watching this as a kid on Sunday afternoons, | 0:41:07 | 0:41:10 | |
this probably would be one of my favourite pieces. | 0:41:10 | 0:41:13 | |
Cheek To Cheek. It's very romantic. | 0:41:13 | 0:41:18 | |
I do love the feel. | 0:41:18 | 0:41:21 | |
She looks like she's totally studying Fred. | 0:41:21 | 0:41:24 | |
She's got her eye on him all the time. | 0:41:27 | 0:41:30 | |
And he looks like he's just playing with the steps. | 0:41:32 | 0:41:34 | |
The techniques in this style of dancing are also very different | 0:41:40 | 0:41:44 | |
from ballet. Here, Darcey will have to go against her instinct | 0:41:44 | 0:41:47 | |
to keep her knees straight and her feet turned out, | 0:41:47 | 0:41:51 | |
and she'll have to allow her posture to relax. | 0:41:51 | 0:41:54 | |
'It looks so easy, but it actually isn't at all. | 0:42:01 | 0:42:03 | |
'I mean, rehearsing it is actually really tiring,' | 0:42:03 | 0:42:06 | |
cos they bounce all the way through it, they're doing a lot of jumps. | 0:42:06 | 0:42:10 | |
Even though the steps are so simple. | 0:42:10 | 0:42:12 | |
MUSIC CONTINUES | 0:42:13 | 0:42:16 | |
I think my favourite bit is the end, where they're cheek to cheek, | 0:42:40 | 0:42:44 | |
it suddenly just all makes sense. | 0:42:44 | 0:42:46 | |
And he REALLY pushes his face against hers, she seems a bit kind of tense. | 0:42:47 | 0:42:52 | |
Quite lovely. | 0:42:52 | 0:42:54 | |
And the relief that they're finished. | 0:42:58 | 0:43:01 | |
This image of romance has a powerful appeal across the decades. | 0:43:07 | 0:43:11 | |
Two years ago, Darcey was a guest judge on Strictly Come Dancing. | 0:43:15 | 0:43:19 | |
-Hi. -Hi, Moira, lovely to see you. -Lovely to see you. | 0:43:19 | 0:43:23 | |
-Welcome back! -I know, I know. | 0:43:23 | 0:43:25 | |
It brings back a lot of good memories. It's really nice. | 0:43:25 | 0:43:28 | |
-I love the new sets as well. -Oh, good! | 0:43:28 | 0:43:29 | |
Yeah, it's very impressive. | 0:43:29 | 0:43:31 | |
For us, with Strictly, | 0:43:37 | 0:43:40 | |
the likes of Fred Astaire, Ginger Rogers, | 0:43:40 | 0:43:42 | |
they are the benchmark for dance. | 0:43:42 | 0:43:44 | |
It's about the coupling, it's about the chemistry. | 0:43:44 | 0:43:48 | |
That's who Len will set as a benchmark | 0:43:49 | 0:43:52 | |
for everybody to aspire to be. | 0:43:52 | 0:43:55 | |
That's what I want to see. | 0:43:57 | 0:43:59 | |
That's what I want to be - transported to Hollywood. | 0:43:59 | 0:44:02 | |
And, whether I'm stuck here in Shepherd's Bush, I still want | 0:44:02 | 0:44:05 | |
to be there in Hollywood, thinking of Fred Astaire and Ginger Rogers. | 0:44:05 | 0:44:09 | |
We're working on four different pieces. One is Cheek To Cheek. | 0:44:14 | 0:44:17 | |
-Oh, yes! -Which was Fred Astaire. | 0:44:17 | 0:44:20 | |
-Would you have an tips for me approaching a piece like that? -Um... | 0:44:20 | 0:44:25 | |
I mean, I know it's foxtrot. | 0:44:25 | 0:44:26 | |
It's very fluid, very fluid and smooth, so I would say, | 0:44:26 | 0:44:30 | |
because it's so linear, | 0:44:30 | 0:44:33 | |
but the lines are also very smooth | 0:44:33 | 0:44:36 | |
going in and out, so no tension in the body. | 0:44:36 | 0:44:40 | |
It has to have some kind of tension, but it has to be a very fluid, | 0:44:40 | 0:44:44 | |
-relaxed tension. -Slightly hidden. -Yes. -That's brilliant. | 0:44:44 | 0:44:48 | |
-Thank you very much. -You're welcome. | 0:44:48 | 0:44:50 | |
-All the best for tonight. -Thank you. -Enjoy. -Thanks. | 0:44:50 | 0:44:53 | |
MUSIC OBSCURES SPEECH | 0:45:08 | 0:45:10 | |
-That's not on the beat. -They don't hit it. -They don't hit it, do they? | 0:45:12 | 0:45:16 | |
-No. -I wish she didn't have that bloody dress on! | 0:45:16 | 0:45:18 | |
I can see it. | 0:45:21 | 0:45:22 | |
This time, Nathan will be taking the Fred Astaire role. | 0:45:22 | 0:45:26 | |
'This is a bit of a challenge, | 0:45:26 | 0:45:28 | |
'working with a ballerina, cos we have completely different training,' | 0:45:28 | 0:45:31 | |
the way you hold you hold your body is different and the way ballet boys | 0:45:31 | 0:45:34 | |
partner their girls is different to the way we're trained. | 0:45:34 | 0:45:37 | |
-Is it because I'm trying to go, "Yah...yah"? -Rather than going...? | 0:45:37 | 0:45:43 | |
'Cos I haven't done the classical training with partners, | 0:45:43 | 0:45:46 | |
'but I know that it's a lot more controlled and rigid | 0:45:46 | 0:45:50 | |
and you know exactly where everything is, where, | 0:45:50 | 0:45:53 | |
when it comes to partner work in the jobs that I do, | 0:45:53 | 0:45:55 | |
it's, "Throw that girl around as fast as you can | 0:45:55 | 0:45:58 | |
"and just hope that you get there in time." | 0:45:58 | 0:46:00 | |
Huh! | 0:46:02 | 0:46:03 | |
SHE CHUCKLES | 0:46:03 | 0:46:05 | |
I think Darcey's done an amazing job of coming over | 0:46:05 | 0:46:07 | |
to my side of things, and I've also learnt a lot from her. | 0:46:07 | 0:46:10 | |
Five, no, seven, eight. One, two, three, four, five. | 0:46:10 | 0:46:16 | |
Da, da, ya! Yes? | 0:46:16 | 0:46:19 | |
If I go past you, it's crap. | 0:46:19 | 0:46:22 | |
Ballroom dancing, waltz and foxtrot particularly, | 0:46:22 | 0:46:25 | |
you swing from the hip. It's all about the... | 0:46:25 | 0:46:28 | |
They're called the swing dances, because you swing through the hip. | 0:46:28 | 0:46:32 | |
In addition to that, you have to get sway. | 0:46:32 | 0:46:36 | |
These things are not natural in a ballet dancer. | 0:46:36 | 0:46:39 | |
When you watch ballroom dancing, the first step is taken through the heel | 0:46:41 | 0:46:45 | |
and then you lift up onto the ball of your foot to get rise and fall. | 0:46:45 | 0:46:49 | |
Same in the foxtrot - heel, ball, rise and fall. | 0:46:49 | 0:46:54 | |
In ballet, you very rarely - in fact, I don't know if ever - | 0:46:54 | 0:46:59 | |
you step forward through the heel. | 0:46:59 | 0:47:01 | |
It's always off the ball of the foot or through the toe onto the ball. | 0:47:01 | 0:47:05 | |
So, this is going to be technically a huge challenge. | 0:47:05 | 0:47:10 | |
'Apart from just learning the choreography | 0:47:11 | 0:47:14 | |
'and getting the number down, | 0:47:14 | 0:47:17 | |
'the technique is going to be so difficult,' | 0:47:17 | 0:47:20 | |
and so far out of Darcey's comfort zone. | 0:47:20 | 0:47:22 | |
-You seem to glisse on and then he pulls you down. -So it's more that. | 0:47:22 | 0:47:26 | |
-Yeah. -And I'm doing like that on top. -Yeah. -Like a ballet step. | 0:47:26 | 0:47:31 | |
Marcus and Karen Hilton are 12 times champion ballroom dancers. | 0:47:34 | 0:47:41 | |
They've come to give Darcey some technical tips | 0:47:41 | 0:47:44 | |
about how this sort of dance style differs | 0:47:44 | 0:47:47 | |
from what she's been brought up to do. | 0:47:47 | 0:47:49 | |
Quite a slow one, isn't it? | 0:47:49 | 0:47:51 | |
Yeah, so it's like a check to the left, to the right, | 0:47:52 | 0:47:55 | |
then it comes back. | 0:47:55 | 0:47:56 | |
It's sort of doing a triangle. Is that right? | 0:47:56 | 0:48:00 | |
I suppose it's almost like a check and back. | 0:48:00 | 0:48:02 | |
We call it a natural check. | 0:48:02 | 0:48:03 | |
'If I look at male and female in the ballet world,' | 0:48:03 | 0:48:06 | |
the male will just literally support the female, | 0:48:06 | 0:48:09 | |
whereas, in this instance, body weights are coming together. | 0:48:09 | 0:48:12 | |
'So it's the weight of the body that's supporting each other.' | 0:48:12 | 0:48:15 | |
'So we've got that constant body contact and weight contact.' | 0:48:15 | 0:48:19 | |
-It's quite soft, isn't it? -It's much softer. | 0:48:19 | 0:48:22 | |
We were just going, "Side and side, side and side." And it's like across. | 0:48:22 | 0:48:28 | |
'I think the challenge is tremendous, | 0:48:28 | 0:48:30 | |
'but she's coping admirably.' | 0:48:30 | 0:48:31 | |
From an early age, she's been told | 0:48:31 | 0:48:33 | |
she must straighten those knees, no matter what. | 0:48:33 | 0:48:36 | |
Flex your knees. | 0:48:36 | 0:48:37 | |
Darcey, chase after me and just feel how flexed my knees are. | 0:48:37 | 0:48:41 | |
-They never, ever... -Straighten. | 0:48:41 | 0:48:43 | |
'We're talking about flexed knees,' | 0:48:43 | 0:48:46 | |
inside edge of knees coming inside, no turn out, | 0:48:46 | 0:48:49 | |
tracking of the legs under the body. | 0:48:49 | 0:48:51 | |
Put your knee together, the back of the knee. | 0:48:51 | 0:48:54 | |
But, um, she's making a lovely job of it | 0:48:54 | 0:48:56 | |
and I know she's capable of doing it beautifully. | 0:48:56 | 0:48:59 | |
Beyond technique, | 0:49:14 | 0:49:15 | |
Darcey needs to find out what was the essential character | 0:49:15 | 0:49:18 | |
that Ginger Rogers brought to this extraordinary dance partnership. | 0:49:18 | 0:49:22 | |
Actress Summer Strallen is about to play the Ginger Rogers part | 0:49:24 | 0:49:28 | |
in a new national touring production of Top Hat. | 0:49:28 | 0:49:31 | |
She was a beautiful lady. | 0:49:31 | 0:49:33 | |
She was incredibly petite, wasn't she? | 0:49:33 | 0:49:36 | |
Yeah, tiny, and a fantastic actress. | 0:49:36 | 0:49:38 | |
I think that's the main thing that I love about her. | 0:49:38 | 0:49:42 | |
She wasn't THE most fantastically trained technical dancer, | 0:49:42 | 0:49:46 | |
yet she looks it. | 0:49:46 | 0:49:48 | |
-'There's a meaning to every single move that she does.' -'Yeah.' | 0:49:48 | 0:49:53 | |
'And you can really tell what she's thinking the whole way through.' | 0:49:53 | 0:49:57 | |
-'Having a story with her moves.' -'Absolutely.' | 0:49:57 | 0:50:00 | |
And that's been a massive inspiration to me, anyway, | 0:50:00 | 0:50:03 | |
watching her work. | 0:50:03 | 0:50:04 | |
One, two, three, one, two, three. | 0:50:04 | 0:50:06 | |
One, two, three, turn! One, two, three, tur... | 0:50:06 | 0:50:09 | |
Let's try it again. | 0:50:12 | 0:50:13 | |
'Ginger Rogers was essentially an amateur.' | 0:50:13 | 0:50:16 | |
'Glorious amateur, I should say.' | 0:50:18 | 0:50:20 | |
Because she almost... | 0:50:20 | 0:50:22 | |
You almost watched her learn to dance through each film. | 0:50:22 | 0:50:25 | |
'She learnt from Astaire and she got better and better as it went along.' | 0:50:25 | 0:50:28 | |
'The pleasure in watching her,' | 0:50:32 | 0:50:33 | |
is watching this person who's loving it, | 0:50:33 | 0:50:36 | |
absolutely loving doing what she's doing | 0:50:36 | 0:50:38 | |
and loving getting better at it. | 0:50:38 | 0:50:40 | |
'And it's partly why we all love Strictly Come Dancing, actually. | 0:50:46 | 0:50:49 | |
'We love seeing those people getting better each week. | 0:50:49 | 0:50:52 | |
'We love that sort of change and how they feel about it.' | 0:50:52 | 0:50:55 | |
'And it's a lot to do with feeling, I think.' | 0:51:04 | 0:51:06 | |
So that would be my advice, really, is to try and capture that, | 0:51:06 | 0:51:09 | |
not just the technique. | 0:51:09 | 0:51:12 | |
The success of Fred's films attracted some of the top | 0:51:18 | 0:51:21 | |
popular composers of the day to work with him. | 0:51:21 | 0:51:24 | |
-Nice and lightly, yeah? -And Irving Berlin's Cheek To Cheek | 0:51:24 | 0:51:28 | |
was one of the most lasting numbers of them all. | 0:51:28 | 0:51:30 | |
THEY PLAY "CHEEK TO CHEEK" | 0:51:30 | 0:51:32 | |
These movies often prompted the musicians to their finest. | 0:51:36 | 0:51:40 | |
Irving Berlin had been at the top of showbusiness | 0:51:40 | 0:51:43 | |
since the First World War, or thereabouts, | 0:51:43 | 0:51:46 | |
but he'd actually gone to a slight loss of inspiration. | 0:51:46 | 0:51:49 | |
Suddenly, he's invited to work on Top Hat | 0:51:49 | 0:51:51 | |
and working for Fred Astaire brings his greatest flowering so far. | 0:51:51 | 0:51:55 | |
MUSIC OBSCURES SPEECH | 0:52:01 | 0:52:03 | |
'Fred Astaire was this sort of quality control man, | 0:52:07 | 0:52:11 | |
'when it came to certain composers. | 0:52:11 | 0:52:13 | |
'He'd been known to say, "I think you can do better."' | 0:52:13 | 0:52:16 | |
'He was tireless in polishing it to a real perfection. | 0:52:18 | 0:52:21 | |
'The sort of perfection I don't think we'll ever see again.' | 0:52:21 | 0:52:24 | |
'The way Fred Astaire put a number across,' | 0:52:26 | 0:52:28 | |
was often, you know, very much involved with his rhythmic sense. | 0:52:28 | 0:52:32 | |
He never thought of himself as a singer, | 0:52:32 | 0:52:34 | |
but he was many composers' favourite singer. | 0:52:34 | 0:52:37 | |
He always sang beautifully in tune and he had this sort of poise | 0:52:37 | 0:52:43 | |
and rhythmic sort of grace, | 0:52:43 | 0:52:46 | |
which I think did a lot of those numbers | 0:52:46 | 0:52:49 | |
great credit and great justice. | 0:52:49 | 0:52:51 | |
-Well, if Madge doesn't care, I certainly don't. -Neither do I. | 0:52:51 | 0:52:56 | |
All I know is that it's... | 0:52:56 | 0:52:58 | |
# Heaven | 0:52:58 | 0:53:00 | |
# I'm in heaven | 0:53:00 | 0:53:03 | |
# And my heart beats so that I can hardly speak | 0:53:03 | 0:53:09 | |
# And I seem to find the happiness I seek | 0:53:09 | 0:53:16 | |
# When we're up together dancing cheek to cheek. # | 0:53:16 | 0:53:19 | |
'The phrasing that Fred Astaire brings is so astounding. | 0:53:24 | 0:53:27 | |
'I love the way he slides the voice generally.' | 0:53:27 | 0:53:29 | |
# I'm in heaven Da-da daa-da. # | 0:53:29 | 0:53:31 | |
It's really a master musician portamento effect, that. | 0:53:31 | 0:53:35 | |
# Seem to vanish like a gambler's lucky streak | 0:53:35 | 0:53:41 | |
# When we're up together dancing cheek to cheek. # | 0:53:41 | 0:53:48 | |
While rehearsing, Darcey gets a special visitor. | 0:53:48 | 0:53:52 | |
-"Rehearsing Cheek To Cheek..." -"A swell tune." -"A swell tune." | 0:53:52 | 0:53:55 | |
The perfect vernacular for the time! | 0:53:55 | 0:53:59 | |
As a teenager, Ava Astaire travelled frequently with her father. | 0:54:00 | 0:54:04 | |
Daddy and Ginger, they never fought. | 0:54:04 | 0:54:08 | |
There's always all these stories about how | 0:54:08 | 0:54:12 | |
they were fighting constantly | 0:54:12 | 0:54:14 | |
and I really think that probably can be attributed | 0:54:14 | 0:54:18 | |
to the dress that he had to fight | 0:54:18 | 0:54:22 | |
when they did the number Cheek To Cheek. | 0:54:22 | 0:54:24 | |
They got out there to do the shot and the feathers started shedding | 0:54:24 | 0:54:29 | |
and they got up his nose and in his eyes and he lost his temper. | 0:54:29 | 0:54:34 | |
And from that, legends have been built that they fought constantly | 0:54:34 | 0:54:39 | |
but, actually, when the whole filming was over, | 0:54:39 | 0:54:42 | |
they presented her with a gold feather for her charm bracelet. | 0:54:42 | 0:54:47 | |
How funny. | 0:54:47 | 0:54:49 | |
It is one of those magical pieces, when you watch Cheek To Cheek. | 0:54:49 | 0:54:52 | |
You just go, "That dress, oh, my gosh, that dress." | 0:54:52 | 0:54:54 | |
I can see why she wanted it and she did design it | 0:54:54 | 0:54:58 | |
and it's just that they never rehearsed with those dresses, | 0:54:58 | 0:55:02 | |
any of the costumes. | 0:55:02 | 0:55:04 | |
They never did in those days. | 0:55:04 | 0:55:06 | |
And there you are, the feathers down low there. | 0:55:07 | 0:55:10 | |
Couturier to the stars and one of Princess Diana's | 0:55:10 | 0:55:13 | |
favourite dress designers, Bruce Oldfield, | 0:55:13 | 0:55:15 | |
is giving advice about the type of frock Darcey might wear. | 0:55:15 | 0:55:18 | |
That dress, on its own, is a dog. | 0:55:19 | 0:55:23 | |
And that dress needs a body in it and it needs a body who's dancing | 0:55:23 | 0:55:26 | |
because it's this great, big bulky coat. | 0:55:26 | 0:55:28 | |
Cos she was so petite, | 0:55:28 | 0:55:29 | |
to put her in something that kind of covered her up. | 0:55:29 | 0:55:32 | |
Yeah, it's ridiculous. But, of course, | 0:55:32 | 0:55:34 | |
it was a sublime dress in motion. | 0:55:34 | 0:55:37 | |
A ghastly yeti of a frock. | 0:55:37 | 0:55:40 | |
I've never seen somebody faff around with a dress | 0:55:40 | 0:55:42 | |
that's in their mouth and she's like this. | 0:55:42 | 0:55:44 | |
-Every time she went upside down, you couldn't see her face. -Yeah. | 0:55:44 | 0:55:47 | |
So he would lunge with her, and the dress would be flapped over her face. | 0:55:47 | 0:55:51 | |
It must have been... | 0:55:51 | 0:55:53 | |
No, apparently, after that film, she was called Feathers, | 0:55:53 | 0:55:55 | |
-that was her nickname. -Ah. -Yeah. | 0:55:55 | 0:55:57 | |
-Amazing. So, can we look at it? A feel of that... -Of feathers, yeah. | 0:55:57 | 0:56:03 | |
Chic to chic. Cheek to Cheek, not chic to chic! | 0:56:03 | 0:56:06 | |
Yeah, it just needs flow at the hem, doesn't it? Um, what about this one? | 0:56:06 | 0:56:11 | |
Cos this one has, you know, it's massively... | 0:56:11 | 0:56:15 | |
There's a lot of dress there. This is a wedding dress. | 0:56:15 | 0:56:18 | |
And, of course, if you danced in that, | 0:56:18 | 0:56:20 | |
it would just keep moving after you. | 0:56:20 | 0:56:22 | |
-Yeah. -It's very short. I've got such a long body. -Have you? | 0:56:22 | 0:56:25 | |
Well, you might come out the top end, as well. | 0:56:25 | 0:56:28 | |
-Thank you. -That wouldn't do. | 0:56:28 | 0:56:29 | |
SHE LAUGHS | 0:56:29 | 0:56:31 | |
Hello! Does it do up? | 0:56:31 | 0:56:33 | |
-I don't know. -Ooh. | 0:56:33 | 0:56:35 | |
Ginger. Ginger. | 0:56:35 | 0:56:37 | |
Is it cos I've got to lower it? Cos my waist actually is tiny. | 0:56:37 | 0:56:40 | |
I think it is, but then your boobs might jump out the top. | 0:56:40 | 0:56:44 | |
Don't... | 0:56:45 | 0:56:46 | |
THEY LAUGH | 0:56:46 | 0:56:48 | |
That'll be exciting! | 0:56:48 | 0:56:50 | |
THEY LAUGH | 0:56:50 | 0:56:51 | |
No, it won't be. | 0:56:51 | 0:56:53 | |
-Yeah, it looks great. -It is, it's so light. | 0:56:53 | 0:56:56 | |
-It doesn't feel like it would knock anybody out, either. -Not even Fred. | 0:56:56 | 0:57:00 | |
-Good old Fred. -No, exactly. | 0:57:00 | 0:57:02 | |
But there's enough room under here for a couple of people. | 0:57:02 | 0:57:06 | |
-Yeah, there is, yeah. -You might get lost. Beautiful. | 0:57:06 | 0:57:10 | |
It's good also for your high kicks, if you decided you wanted to do any. | 0:57:10 | 0:57:15 | |
The skirt goes with you, look at that. | 0:57:15 | 0:57:17 | |
SHE LAUGHS | 0:57:17 | 0:57:18 | |
-God, it went all the way up, your leg! -Oh, it still does. | 0:57:18 | 0:57:21 | |
I'm amazed that your legs will go up that far. | 0:57:22 | 0:57:25 | |
-That's very kind. -I didn't know that's where they're supposed to go. | 0:57:25 | 0:57:28 | |
-Oh, really? -No. | 0:57:28 | 0:57:30 | |
Downstairs, Bruce has another possibility. | 0:57:30 | 0:57:33 | |
-Oh, wow! -Cos it's the same as the pink. -I love the colour. | 0:57:33 | 0:57:38 | |
-It's lovely seeing it in the making as well. -Yeah. -The detail! | 0:57:38 | 0:57:41 | |
-I think it will be very good for that scene. -Gorgeous. | 0:57:41 | 0:57:45 | |
-Gorgeous, tell your auntie. -DOG WHINES | 0:57:45 | 0:57:48 | |
-What is it, Baz, what's the matter? -Doesn't like the dress. | 0:57:48 | 0:57:51 | |
Doesn't like the dress. "It's better in pink." | 0:57:51 | 0:57:54 | |
Yeah, "Better in pink, why are you making another one?" It's gorgeous. | 0:57:54 | 0:57:58 | |
Thank you. | 0:57:58 | 0:57:59 | |
A week later, the Bruce Oldfield dress has arrived for a try-out. | 0:58:00 | 0:58:05 | |
Oh, it's a bit big. | 0:58:05 | 0:58:06 | |
Yeah, it could do with coming in a little bit. | 0:58:10 | 0:58:12 | |
'The whole point of that Cheek To Cheek thing,' | 0:58:12 | 0:58:16 | |
is that it feels like it's a floaty, fantasy, feathery thing. | 0:58:16 | 0:58:21 | |
It's a little bit too structured, I think that's why. | 0:58:23 | 0:58:26 | |
-So it would take away from the... -The steps. | 0:58:26 | 0:58:30 | |
-I like women's backs and that completely negates... -The back. | 0:58:34 | 0:58:38 | |
-I like seeing the back. -Yeah. -Cos that's the elegant part, isn't it? | 0:58:38 | 0:58:43 | |
I mean, that does look beautiful, but it... | 0:58:43 | 0:58:45 | |
It's pretty from the front, but it's not a dress, I suppose, | 0:58:45 | 0:58:48 | |
-that you twiddle in. -No. | 0:58:48 | 0:58:50 | |
So, the Oldfield dress, not so flexible in the back, | 0:58:50 | 0:58:54 | |
is rejected in favour of something closer to the original. | 0:58:54 | 0:58:58 | |
Cheek To Cheek is being filmed on location, | 0:59:02 | 0:59:04 | |
and her new dress awaits her. | 0:59:04 | 0:59:08 | |
This is the original dress that Darcey tried on. | 0:59:08 | 0:59:10 | |
We've done a few alterations to it. | 0:59:10 | 0:59:13 | |
We've put more feathers round the bottom, | 0:59:13 | 0:59:16 | |
just to give it a bit more weight. | 0:59:16 | 0:59:18 | |
Darcey felt like there should be more feathers | 0:59:18 | 0:59:21 | |
around her head and shoulders. | 0:59:21 | 0:59:23 | |
This has been shaken within an inch of its life, | 0:59:23 | 0:59:26 | |
so we don't get any featherage. | 0:59:26 | 0:59:29 | |
Take first positions. And...cue music. | 0:59:38 | 0:59:43 | |
MUSIC: "Cheek To Cheek". | 0:59:49 | 0:59:53 | |
By the early 50s, | 1:01:59 | 1:02:01 | |
MGM was making half of all the musicals turned out by Hollywood. | 1:02:01 | 1:02:05 | |
And, emboldened by success, the studio took the gamble | 1:02:05 | 1:02:09 | |
of allowing one of its stars, Gene Kelly, to co-direct a movie. | 1:02:09 | 1:02:13 | |
Hot dog! Hallelujah! | 1:02:13 | 1:02:15 | |
Kelly jumped in with both feet | 1:02:15 | 1:02:17 | |
and helped change the direction of movie musicals for ever. | 1:02:17 | 1:02:20 | |
-What do you mean, the 24th? -It's 1:30 already, it's morning! | 1:02:20 | 1:02:24 | |
Every person, when they wake up, | 1:02:24 | 1:02:26 | |
should have Good Morning suddenly come on. | 1:02:26 | 1:02:28 | |
-# Good morning. -Good morning. | 1:02:28 | 1:02:31 | |
# We've talked the whole night through... # | 1:02:31 | 1:02:33 | |
The third number that Darcey will be dancing is from | 1:02:33 | 1:02:36 | |
one of Kelly's finest achievements, | 1:02:36 | 1:02:38 | |
the ever-popular movie, Singin' In The Rain. | 1:02:38 | 1:02:41 | |
# It's great to stay up late. # | 1:02:41 | 1:02:43 | |
In Good Morning, she'll take the Debbie Reynolds role. | 1:02:43 | 1:02:46 | |
When you compare Fred Astaire to Gene Kelly, I mean, | 1:02:47 | 1:02:49 | |
Gene Kelly is more obviously handsome and hunky. | 1:02:49 | 1:02:52 | |
And for that very reason, that is, apparent sexiness, | 1:02:52 | 1:02:57 | |
plenty people will always prefer Gene Kelly. | 1:02:57 | 1:02:59 | |
# Good morning Good morning to you. | 1:02:59 | 1:03:03 | |
# And you and you and you. # | 1:03:03 | 1:03:04 | |
If Fred Astaire is Champagne and caviar, | 1:03:04 | 1:03:08 | |
then Gene Kelly was beer and a burger. | 1:03:08 | 1:03:11 | |
He was the man's dancer. | 1:03:11 | 1:03:13 | |
# New York, New York A wonderful town... # | 1:03:13 | 1:03:15 | |
'The same old things are said about Fred and Gene all the time. | 1:03:15 | 1:03:19 | |
'It's that Astaire was elegant and in top hat and tails | 1:03:19 | 1:03:22 | |
'and Gene Kelly is the workmanlike, everyman guy.' | 1:03:22 | 1:03:27 | |
'You know, he was happy being a builder or a sailor in everything.' | 1:03:27 | 1:03:30 | |
The irony of it is that I think it was almost the opposite. | 1:03:30 | 1:03:34 | |
You know, Astaire sort of fell into the top hat and tails, | 1:03:34 | 1:03:37 | |
didn't really feel comfortable and was much more a casual kind of guy. | 1:03:37 | 1:03:41 | |
'Gene Kelly was very sort of inspired by different forms of dance | 1:03:41 | 1:03:45 | |
'and did look to higher things in terms of his dancing, | 1:03:45 | 1:03:49 | |
'wanted to make a whole film using classical ballet dancers.' | 1:03:49 | 1:03:53 | |
And you have to admire his ambition. | 1:03:53 | 1:03:55 | |
Darcey will have not only to tap and use props, | 1:03:59 | 1:04:02 | |
but also to follow the Gene Kelly trademark use of different levels. | 1:04:02 | 1:04:06 | |
'I think this piece has great energy, it's got great wit. | 1:04:08 | 1:04:12 | |
'You know, I wanted to see Darcey really have fun with it.' | 1:04:12 | 1:04:16 | |
And I think that that combination, all over the set, | 1:04:16 | 1:04:18 | |
with the levels would be a great challenge for her too. | 1:04:18 | 1:04:22 | |
'In Good Morning, settees, mackintoshes,' | 1:04:25 | 1:04:30 | |
anything you wanted, whatever was lying about, almost - | 1:04:30 | 1:04:33 | |
"Let's augment that into the number." | 1:04:33 | 1:04:35 | |
It's just such a unique bit cos Gene uses all these props | 1:04:41 | 1:04:47 | |
as part of his choreography. | 1:04:47 | 1:04:49 | |
And props terrify me. | 1:04:49 | 1:04:52 | |
Three, four, five, six, seven, eight. | 1:04:54 | 1:04:57 | |
Halfway through rehearsals | 1:04:59 | 1:05:01 | |
and Gene Kelly's daughter, Kerry Kelly Novick, has come to watch. | 1:05:01 | 1:05:04 | |
-Hello. -Hi, I'm Darcey. -I'm Kerry. -Thank you for coming. | 1:05:04 | 1:05:07 | |
-I am very happy to be here. -I am Kim. -Glad to meet you. | 1:05:07 | 1:05:11 | |
-This is Nathan. -Hello. -Nice to meet you. | 1:05:11 | 1:05:13 | |
MUSIC: "Good Morning" by Brown and Freed | 1:05:13 | 1:05:17 | |
Whoo! | 1:05:23 | 1:05:25 | |
-Single! -Yeah! | 1:05:25 | 1:05:27 | |
Ay-ya! | 1:05:33 | 1:05:34 | |
And two, and one, two, three, four, five, six, seven. | 1:05:36 | 1:05:40 | |
Hup! | 1:05:45 | 1:05:47 | |
So we make a cut there. | 1:05:49 | 1:05:51 | |
Gene Kelly had such an athletic body. | 1:05:51 | 1:05:55 | |
I suppose that is why he loved all the props | 1:05:55 | 1:05:57 | |
-and didn't worry about jumping off anything, but she did. -But he was 40. | 1:05:57 | 1:06:01 | |
When he did Good Morning he was 40? | 1:06:01 | 1:06:03 | |
-Yes. -OK, then I don't feel so bad now! | 1:06:03 | 1:06:05 | |
-There's a parallel! -Yeah, there's a parallel! | 1:06:05 | 1:06:08 | |
-Was he...? -Did you watch this piece on the set when they did it? | 1:06:08 | 1:06:13 | |
Yeah, because Singin' In The Rain was shot in the summer, | 1:06:13 | 1:06:16 | |
so I was on summer vacation so I was I was hanging out a lot. | 1:06:16 | 1:06:19 | |
-I was eight... -It's amazing what you remember. | 1:06:19 | 1:06:22 | |
..And Debbie Reynolds was 18. | 1:06:22 | 1:06:25 | |
I thought she was the most wonderful person and she was extremely sweet. | 1:06:25 | 1:06:30 | |
MUSIC PLAYS | 1:06:30 | 1:06:33 | |
Singin' In The Rain - do you have any...? | 1:06:37 | 1:06:41 | |
Did he tell you what that was like to rehearse? | 1:06:41 | 1:06:43 | |
Doing all those dance moves in the rain? | 1:06:43 | 1:06:45 | |
They rehearsed it without the rain, a lot, | 1:06:45 | 1:06:49 | |
but then it took them two days to shoot. | 1:06:49 | 1:06:52 | |
And he was wearing a grey tweed suit with a Norfolk jacket, a heavy suit | 1:06:52 | 1:06:59 | |
and it's California in the summer | 1:06:59 | 1:07:01 | |
and the rainwater was sort of tepid, I think. | 1:07:01 | 1:07:04 | |
'By the end of the first day, he was running a temperature of 103 | 1:07:04 | 1:07:10 | |
'and getting pneumonia because he was in the wet suit all day.' | 1:07:10 | 1:07:14 | |
'He shot it really sick.' | 1:07:15 | 1:07:17 | |
-'Wow.' -'He did do it?' -'Of course.' | 1:07:17 | 1:07:20 | |
Singin' In The Rain was co-directed by Gene Kelly and Stanley Donen. | 1:07:25 | 1:07:29 | |
Now 87, he's lost none of his bite. | 1:07:29 | 1:07:33 | |
Singin' In The Rain was a movie | 1:07:33 | 1:07:35 | |
that you found yourself collaborating on. | 1:07:35 | 1:07:37 | |
-What was it like? -Hell! | 1:07:37 | 1:07:40 | |
Who could like co-directing? | 1:07:41 | 1:07:45 | |
I don't want to have to prove myself to my partner. | 1:07:45 | 1:07:49 | |
And he outweighed me because he was the star of the picture. | 1:07:49 | 1:07:54 | |
It said "Gene Kelly". | 1:07:54 | 1:07:56 | |
I was the director, at least that was my feeling, | 1:07:56 | 1:08:00 | |
and Gene was the star. | 1:08:00 | 1:08:01 | |
But he was the co-director and I hated it. | 1:08:01 | 1:08:05 | |
-Did you co-choreograph? -Yes. | 1:08:05 | 1:08:08 | |
-Was that equally difficult? -Worse. | 1:08:08 | 1:08:12 | |
Yes, because that's very physical. | 1:08:12 | 1:08:15 | |
Not something I enjoyed and I don't think it was something he enjoyed. | 1:08:15 | 1:08:20 | |
MUSIC PLAYS | 1:08:20 | 1:08:23 | |
No matter where that balance is, unless you're all taking | 1:08:37 | 1:08:41 | |
the weight off the back foot at the same time... | 1:08:41 | 1:08:44 | |
-Just keep the pressure going. Find where it is. -And... -Go. | 1:08:44 | 1:08:50 | |
'It is not fun making movies.' | 1:08:59 | 1:09:01 | |
'Even if they are supposed to be about fun. | 1:09:01 | 1:09:05 | |
It ain't laughs and joy, and, "Isn't this great?". | 1:09:05 | 1:09:07 | |
It's not. It's tough. | 1:09:07 | 1:09:10 | |
'It was inch by inch.' | 1:09:14 | 1:09:17 | |
It's, "This is good enough for a few seconds or a few bars, | 1:09:17 | 1:09:21 | |
"now what?" | 1:09:21 | 1:09:23 | |
And you have to come up with a new idea to carry on. | 1:09:23 | 1:09:26 | |
Then you go... | 1:09:26 | 1:09:28 | |
'It was a step-by-step idea.' | 1:09:30 | 1:09:34 | |
'"It works up to there, but now it seems to be lousy. What's wrong? | 1:09:36 | 1:09:41 | |
'"Take it out, change it, turn it upside down." | 1:09:41 | 1:09:44 | |
'That's the way it is to choreograph that particular number.' | 1:09:44 | 1:09:48 | |
'It's not... It doesn't...' | 1:09:48 | 1:09:50 | |
The only idea behind that number is they are happy dancing together. | 1:09:50 | 1:09:55 | |
'And happy dancing is not a great idea. We've all seen it a lot.' | 1:09:57 | 1:10:03 | |
'So you have to come up with great invention.' | 1:10:06 | 1:10:09 | |
'I don't know that it was great, but it was at least invention.' | 1:10:13 | 1:10:17 | |
Singin' In The Rain was also step-by-step. | 1:10:24 | 1:10:26 | |
If you look at it, you will see him dancing and splashing in puddles. | 1:10:26 | 1:10:33 | |
'Those puddles have to be selected, the beat they're on, | 1:10:33 | 1:10:36 | |
'how big it is, how much water it is, where does he go? | 1:10:36 | 1:10:40 | |
'They have to be dug out of the cement.' | 1:10:40 | 1:10:43 | |
It's inch by inch. | 1:10:46 | 1:10:48 | |
It's not, "I have got a great idea, | 1:10:48 | 1:10:50 | |
"he's going to splash in the puddles." Now what? | 1:10:50 | 1:10:53 | |
'You have to work out exactly which puddle, how does he splash in it? | 1:10:55 | 1:10:59 | |
'Where is it? What's the dance step? | 1:10:59 | 1:11:02 | |
'How does it fall in the music?' | 1:11:02 | 1:11:03 | |
That's choreography. | 1:11:03 | 1:11:06 | |
# I'm dancin' | 1:11:06 | 1:11:08 | |
# And singin' | 1:11:08 | 1:11:10 | |
-# In the rain. -# | 1:11:10 | 1:11:13 | |
MUSIC PLAYS | 1:11:23 | 1:11:26 | |
Gene Kelly had arrived but Fred Astaire had not gone away. | 1:13:05 | 1:13:10 | |
In fact, he returned with a vengeance in this movie, | 1:13:10 | 1:13:14 | |
discovering in the process a whole new range of invention. | 1:13:14 | 1:13:17 | |
This is from a film The Band Wagon. | 1:13:19 | 1:13:23 | |
I think it's one of my most favourite scenes | 1:13:23 | 1:13:25 | |
from some of these films because the choreography is just extraordinary, | 1:13:25 | 1:13:29 | |
actually quite comical. | 1:13:29 | 1:13:30 | |
But just perfect for the scene because it's all set in a nightclub. | 1:13:32 | 1:13:38 | |
There are all these gangsters and their girls. | 1:13:40 | 1:13:43 | |
Fred Astaire also found a brand-new partner, | 1:13:46 | 1:13:50 | |
the extraordinary Cyd Charisse. | 1:13:50 | 1:13:53 | |
Cyd Charisse plays these two women. | 1:13:54 | 1:13:58 | |
The major, sultry woman - here she comes in her beautiful red dress. | 1:13:58 | 1:14:04 | |
'It's very sexy, but kind of classy and sexy.' | 1:14:07 | 1:14:10 | |
'Cyd Charisse is my favourite.' | 1:14:16 | 1:14:19 | |
She was so tall. She had such an elegance, such a presence about her. | 1:14:19 | 1:14:24 | |
'It's incredible to think that that was done in 53. | 1:14:27 | 1:14:31 | |
'We're talking over 50 years ago, | 1:14:31 | 1:14:33 | |
'and yet it's modern. It's up-to-date. | 1:14:33 | 1:14:36 | |
'It could be a Michael Jackson number. Smooth Criminal. | 1:14:36 | 1:14:39 | |
'That is one of my iconic numbers,' | 1:14:39 | 1:14:43 | |
mainly because it's totally unexpected. | 1:14:43 | 1:14:45 | |
It is not what you expect Fred Astaire to be doing. | 1:14:45 | 1:14:48 | |
'Astaire is now in his 50s.' | 1:14:51 | 1:14:54 | |
He was a workaholic, a perfectionist. | 1:14:54 | 1:14:56 | |
He didn't love to give it... | 1:14:57 | 1:14:59 | |
He wanted to keep it ongoing, just in the right circumstances. | 1:14:59 | 1:15:02 | |
And he needed the right partner. | 1:15:02 | 1:15:04 | |
In Darcey's final number, she'll be exploring the Cyd Charisse role | 1:15:04 | 1:15:08 | |
In The Girl-Hunt from The Band Wagon. | 1:15:08 | 1:15:10 | |
'He was inspired by Cyd Charisse | 1:15:10 | 1:15:12 | |
'who had come from the classical ballet world,' | 1:15:12 | 1:15:14 | |
but interestingly really blossomed in film. | 1:15:14 | 1:15:18 | |
Apparently she never had any stamina at all. | 1:15:18 | 1:15:21 | |
It suited her perfectly to do these shots and then have a rest, | 1:15:21 | 1:15:25 | |
then do something else! | 1:15:25 | 1:15:26 | |
'But she's one of the most beautiful dancers ever captured on screen | 1:15:26 | 1:15:31 | |
'and probably one of the most viewed dancers of all time.' | 1:15:31 | 1:15:34 | |
'Fred Astaire in his memoirs talks about Cyd Charisse. | 1:15:36 | 1:15:39 | |
'He says, "When you've danced with Cyd Charisse you stay danced with."' | 1:15:39 | 1:15:43 | |
-Hi. -How are you? -Thank you for coming to meet me. | 1:15:51 | 1:15:54 | |
-My pleasure. -Come and sit down. | 1:15:54 | 1:15:57 | |
Darcey has come to meet choreographer Lavelle Smith Jr | 1:15:57 | 1:16:02 | |
who was a dancer in Michael Jackson's Smooth Criminal video... | 1:16:02 | 1:16:05 | |
-Right here. That was me. See that bad dancing? -No! | 1:16:05 | 1:16:09 | |
-Bad dancing! -That wasn't bad. That was great. | 1:16:09 | 1:16:13 | |
..which itself paid direct homage to The Girl-Hunt number. | 1:16:13 | 1:16:15 | |
# Smooth criminal. # | 1:16:15 | 1:16:17 | |
'Do you remember watching that with Michael Jackson, | 1:16:23 | 1:16:27 | |
'that scene with Fred Astaire?' | 1:16:27 | 1:16:29 | |
I remember watching it and thinking, "Wow!" | 1:16:29 | 1:16:32 | |
When I started watching it with him he explained that he would go | 1:16:32 | 1:16:35 | |
to this guy's house, Fred Astaire's house, and learn how to tap, | 1:16:35 | 1:16:39 | |
-talk about making movies. -Really? | 1:16:39 | 1:16:40 | |
Yes, Fred Astaire told him that they took their time. | 1:16:40 | 1:16:44 | |
They didn't skimp on that. | 1:16:44 | 1:16:46 | |
He'll do it again and again, and that was Michael. | 1:16:46 | 1:16:48 | |
You would have to smile and bear it because we would do it | 1:16:48 | 1:16:52 | |
until our bodies told us what was next. | 1:16:52 | 1:16:55 | |
'What I notice when you see Michael Jackson's work | 1:16:56 | 1:17:00 | |
'and Fred Astaire's, is that it's very clean' | 1:17:00 | 1:17:05 | |
and you can actually see everything, every movement left behind. | 1:17:05 | 1:17:09 | |
-Yeah, I love that. -Like a sparkler - when you do this | 1:17:09 | 1:17:12 | |
and you can see the line after it's finished. | 1:17:12 | 1:17:14 | |
That's a great analysis. Yes. | 1:17:14 | 1:17:16 | |
Everything is so clean and, as you said, | 1:17:16 | 1:17:20 | |
it does come down to rehearsals. | 1:17:20 | 1:17:23 | |
Yes, to rehearsal. Smooth Criminal took three months to do. | 1:17:23 | 1:17:26 | |
-Three months? -Someone reminded me this morning | 1:17:26 | 1:17:29 | |
-that it was really only eight minutes. -Wow. | 1:17:29 | 1:17:32 | |
-There you go. But we'll never forget it. -We'll never. | 1:17:32 | 1:17:36 | |
# Then you ran into the bedroom You were struck down | 1:17:36 | 1:17:40 | |
# It was your doom... # | 1:17:40 | 1:17:42 | |
# So sexy | 1:17:42 | 1:17:45 | |
# Tonight I am all yours... # | 1:17:45 | 1:17:49 | |
And its influence continues... | 1:17:49 | 1:17:51 | |
# The way your body... # | 1:17:51 | 1:17:56 | |
..to Beyonce and beyond. | 1:17:56 | 1:17:59 | |
HE HUMS | 1:17:59 | 1:18:01 | |
In this final number, Kim Gavin is reinventing The Girl-Hunt sequence | 1:18:01 | 1:18:07 | |
from The Band Wagon For Darcey. | 1:18:07 | 1:18:09 | |
'This section from Band Wagon, called The Girl-Hunt Ballet | 1:18:11 | 1:18:15 | |
'has riddled its way up to today,' | 1:18:15 | 1:18:19 | |
and we want to try and do is take it and do our version | 1:18:19 | 1:18:23 | |
with Darcey being the forefront, the Cyd Charisse character. | 1:18:23 | 1:18:28 | |
'And put a new soundtrack, new dance, | 1:18:30 | 1:18:33 | |
'bring in some ensemble to create a dynamic piece,' | 1:18:33 | 1:18:39 | |
based on or influenced by The Band Wagon. | 1:18:39 | 1:18:42 | |
'I'm hoping that we can surround her with a great team as well, | 1:18:45 | 1:18:50 | |
'and that she's part of that team, | 1:18:50 | 1:18:52 | |
'unlike the other numbers which are very much stand-alone pieces.' | 1:18:52 | 1:18:55 | |
I wanted her to fit within the group a little bit more. | 1:18:58 | 1:19:01 | |
Look at that! | 1:19:03 | 1:19:05 | |
But it does not need it flatter. | 1:19:09 | 1:19:12 | |
It almost needs for you to kind of go up that way. | 1:19:12 | 1:19:16 | |
A different direction? | 1:19:18 | 1:19:21 | |
So that I am seeing you go over there, not up there and coming down. | 1:19:21 | 1:19:27 | |
That would be better. | 1:19:29 | 1:19:31 | |
-Then you have somewhere to go. -It gives us more room. | 1:19:31 | 1:19:34 | |
-That works. That's better. -Let him go round. -Yes. | 1:19:34 | 1:19:38 | |
-Then we will have time for it as well. -Yes. | 1:19:38 | 1:19:40 | |
'You do have to get yourself in a very different mindset | 1:19:42 | 1:19:45 | |
'for a piece like this. It's much more grounded.' | 1:19:45 | 1:19:48 | |
Nothing's ever fully stretched. | 1:19:48 | 1:19:50 | |
Even though Kim has asked for a couple of things | 1:19:50 | 1:19:53 | |
that are probably more authentic to me, | 1:19:53 | 1:19:56 | |
'everything is very into the ground and very fast. | 1:19:56 | 1:20:00 | |
'The beat is incredibly important. And it just looks, | 1:20:00 | 1:20:04 | |
'when it goes like that... | 1:20:04 | 1:20:06 | |
'And I am learning off the girls I'm around.' | 1:20:06 | 1:20:09 | |
'I'm enjoying watching them a lot, | 1:20:11 | 1:20:14 | |
'just watching their little nuances.' | 1:20:14 | 1:20:17 | |
The way they touch their head, | 1:20:17 | 1:20:19 | |
or move or anything like that is really nice to see. | 1:20:19 | 1:20:22 | |
I will have more inhibitions about things like that. | 1:20:24 | 1:20:27 | |
'I'm just finding things like putting your shoulder up.' | 1:20:28 | 1:20:32 | |
In classical ballet, we'd be very inclined | 1:20:34 | 1:20:37 | |
to make sure the distance between your chin and your shoulder | 1:20:37 | 1:20:41 | |
is always long and if I did a move like that, I'd have distance. | 1:20:41 | 1:20:45 | |
Here it's really happy to do a roll. | 1:20:45 | 1:20:48 | |
'I think it's very much the flavour of the piece as well.' | 1:20:52 | 1:20:55 | |
Kind of rum, dirty, but keeping it classy at the same time. | 1:20:59 | 1:21:05 | |
You kind of run in. | 1:21:16 | 1:21:19 | |
Finally Darcey is back on set with the ensemble of other dancers | 1:21:19 | 1:21:24 | |
to shoot Kim's reinvention of the hugely influential The Girl-Hunt | 1:21:24 | 1:21:28 | |
with its newly commissioned score. | 1:21:28 | 1:21:31 | |
'It was late and it was quiet.' | 1:21:39 | 1:21:41 | |
'The city breathed slowly, | 1:21:44 | 1:21:46 | |
'caught in a dream, though nightmares hid in every shadow. | 1:21:46 | 1:21:50 | |
'The name's Riley. I am a police detective. | 1:21:50 | 1:21:55 | |
'I got a tip that something big was going down | 1:21:55 | 1:21:58 | |
'and I wanted a piece of it.' | 1:21:58 | 1:22:00 | |
'This was no place for a kid like her.' | 1:22:10 | 1:22:13 | |
'She had eyes that were once bright and twice as scared. | 1:22:18 | 1:22:23 | |
'She was the girl I wanted to protect and serve...forever.' | 1:22:23 | 1:22:27 | |
'I knew this wasn't what it seemed, but what was it? | 1:22:38 | 1:22:41 | |
'I guess there's only one way to find out.' | 1:22:41 | 1:22:45 | |
# Hey, yeah! | 1:22:45 | 1:22:51 | |
# Ooh | 1:22:53 | 1:22:54 | |
# Yeah | 1:22:56 | 1:22:58 | |
# Everybody's shaking and making those looks at you | 1:22:58 | 1:23:01 | |
# I just won a bet with the band | 1:23:01 | 1:23:04 | |
# Yeah | 1:23:06 | 1:23:11 | |
# Ooh-oh, ow! # | 1:23:21 | 1:23:25 | |
'She had legs longer than a millionaire's cheque-book | 1:23:55 | 1:23:59 | |
'but no one could afford to make this mistake.' | 1:23:59 | 1:24:01 | |
'You could cut the tension with a knife.' | 1:24:14 | 1:24:16 | |
'This girl was bad. This girl was dangerous.' | 1:24:18 | 1:24:22 | |
# Yeah, she moves with danger | 1:24:31 | 1:24:32 | |
# Yeah, she talks in tongues Don't think you can change her | 1:24:32 | 1:24:36 | |
# Now look what you've done | 1:24:36 | 1:24:38 | |
# Now she's got the motive Now she's shot the gun | 1:24:38 | 1:24:42 | |
# She could tempt you and play you and catch you if you run | 1:24:42 | 1:24:47 | |
# Stop her before you fall in love | 1:24:47 | 1:24:50 | |
# Because you ain't secure If you're wanting more | 1:24:50 | 1:24:52 | |
# But a little unsure then you already need the cure | 1:24:52 | 1:24:55 | |
# Trust me there's more there really is | 1:24:55 | 1:24:58 | |
# Stirring it everywhere | 1:24:58 | 1:25:00 | |
# The way she's making you stare and flicking her hair | 1:25:00 | 1:25:02 | |
# Crush her now Just crush her now | 1:25:02 | 1:25:04 | |
# She moves with danger Yeah, she talks in tongues | 1:25:04 | 1:25:08 | |
# Don't think you can change her Now look what you've done | 1:25:08 | 1:25:13 | |
# Now she's got the motive Now she's shot the gun | 1:25:13 | 1:25:16 | |
# She could tempt you and play you and catch you if you run | 1:25:16 | 1:25:20 | |
# Yeah. # | 1:25:20 | 1:25:22 | |
'This case was closed but I still had some unfinished business. | 1:25:48 | 1:25:53 | |
'The girl was bad, the girl was dangerous, | 1:25:53 | 1:25:58 | |
'but that's my kind of girl.' | 1:25:58 | 1:26:00 | |
Soon after The Band Wagon was released, rock and roll arrived | 1:26:09 | 1:26:13 | |
and a certain romantic innocence was lost forever. | 1:26:13 | 1:26:17 | |
'Dance is dependent on the music and unfortunately | 1:26:17 | 1:26:21 | |
'that type of music, the foxtrots, the waltzes,' | 1:26:21 | 1:26:25 | |
and the gliding glamorous dances, | 1:26:25 | 1:26:28 | |
the music went and with it the dancing went, unfortunately. | 1:26:28 | 1:26:33 | |
As popular music changed, | 1:26:34 | 1:26:36 | |
movie musicals seemed out of tune with the times. | 1:26:36 | 1:26:41 | |
But the stars of the golden age were never outshone. | 1:26:41 | 1:26:45 | |
'What I learnt about Fred Astaire and Gene Kelly | 1:26:46 | 1:26:49 | |
'is they were geniuses | 1:26:49 | 1:26:51 | |
'and they had set a mark incredibly high for their time,' | 1:26:51 | 1:26:56 | |
on their choreographic skills, their dance ability, | 1:26:56 | 1:26:59 | |
that people are still trying to emulate today. | 1:26:59 | 1:27:02 | |
'They had such a distinctive quality of their own | 1:27:06 | 1:27:09 | |
'that they were able to create something unique.' | 1:27:09 | 1:27:12 | |
'The detail, precision | 1:27:14 | 1:27:16 | |
'and discipline that goes behind rehearsing these numbers...' | 1:27:16 | 1:27:20 | |
# I'm happy again. # | 1:27:20 | 1:27:22 | |
..Hopefully we got a little essence of that. | 1:27:24 | 1:27:27 | |
I say there! | 1:28:01 | 1:28:03 | |
Subtitles by Red Bee Media Ltd | 1:28:03 | 1:28:06 | |
E-mail [email protected] | 1:28:06 | 1:28:09 |