Has anyone submitted Gene Kelly and Nicholas Brothers in Be A Clown yet? The sheer athleticism of this number really demonstrates the skill of all three of them, though even Gene had a lil trouble keeping up with the brothers, a lesser man wouldve been left in the dust
Und wieder einmal feierten wir völlig unkritisch und mit größtem Vergnügen die Beiträge der schwarzen Rasse zur Unterhaltungsindustrie der letzten 25 Jahre. Vor 1943. Natürlich ist nicht alles politisch korrekt, aber es wäre ein Jammer, deshalb auf die brillante Show von Lena, Bill, Cab und Fats, den Salt Lake City Blues und die Nicholas Brothers in der von Fred Astaire als die großartigste Tanznummer, die er je gesehen habe gepriesene zu verzichten.
I just saw this in another post, and hadn't noticed that the film is 1943's "Stormy Weather" and in particular the legendary Nicholas Brother's even MORE legendary "Jumpin' Jive" routine which has to be seen to be believed.
youtube
Dick teaching Haley to dance to this is just so cute, but Dick Grayson is perhaps one of the few people on Earth who could begin to match the dancing skill and acrobatic talent of Harold and Fayard Nicholas. (Haley I'm less sure about, but she'd give it her all, I have no doubt)
Gene Kelly and Judy Garland in The Pirate (Vincente Minnelli, 1948)
Cast: Judy Garland, Gene Kelly, Walter Slezak, Gladys Cooper, Reginald Owen, George Zucco, Fayard Nicholas, Harold Nicholas, Lester Allen, Lola Albright, Ellen Ross. Screenplay: Albert Hackett, Frances Goodrich, based on a play by S.N. Behrman. Cinematography: Harry Stradling Sr. Art direction: Cedric Gibbons, Jack Martin Smith. Film editing: Blanche Sewell. Music: Lennie Hayton, Conrad Salinger, Cole Porter (songs).
Props to Walter Slezak, who is the only person in the cast of The Pirate who knows how to pronounce the name of the heroine. Everyone else refers to Manuela (Judy Garland) as "Man-you-ella." Manuela is a young woman in the Caribbean village of Calvados who is engaged to the town's portly, middle-aged mayor, Don Pedro Vargas (Slezak). Her head is full of tales of the dashing pirate Macocco, aka "Mack the Black," and she fantasizes about him taking her away from the village for a life of adventure. Don Pedro, however, likes the village perfectly well and never wants to leave. Visiting the city of Port Sebastian to have her wedding gown fitted, Manuela encounters a traveling player named Serafin (Gene Kelly), who falls for her, and during his act he hypnotizes her, hoping she'll fall in love with him. Instead, she reveals her passion for Mack the Black. Serafin follows her with his troupe to Calvados, where he recognizes Manuela's fiancé as the real Macocco, retired from piracy and hiding his secret past. From there, the plot thickens into a series of complications as Serafin decides to win Manuela away from Don Pedro by pretending that he's the real Macocco. It's not a bad premise to hang a series of songs and production numbers on, and there's some spectacularly athletic dancing by Kelly and Garland is in fine voice. The songs by Cole Porter are not his best work, however. The lyrics are sometimes silly: "Niña," for example, rhymes the name Niña with "neurasthenia" and "schizophrenia." Only "Be a Clown," which Kelly dances to first with the Nicholas Brothers and then with Garland, has had any life outside the film, and that mostly because producer and songwriter Arthur Freed notoriously copied it for Donald O'Connor's "Make 'Em Laugh" number in Singin' in the Rain (Kelly and Stanley Donen, 1952). Garland's increasing emotional problems, which worsened after she experienced postpartum depression following the birth of Liza Minnelli in 1946, also affected the production. The film feels a little disjointed and the ending feels perfunctory, a reflection of some script problems and cost overruns. It wasn't a box office success. Still, it has moments that are as good as any of the more successful Freed Unit productions.
Brothers Fayard (1914 - 2006) and Harold (1921 - 2000) Nicholas were perhaps the greatest dancing duo ever known. They performed on Broadway, in clubs, on vaudeville and in films. They were known for their athletic and acrobatic style - an inspiration to other dancers such as Fred Astaire and Gene Kelly .
Nearly 100 years ago, however, their reach was limited. In films, their performances were recorded by themselves so that the scenes could be eliminated in the segregated South. Today, clips of their fabulous dancing are all over Facebook and Instagram.
Fayard and Harold and their amazing talent will always be remembered on AncientFaces.
This dance sequence from „The Pirate“ was the first time famous black dancing duo The Nicholas Brothers had danced onscreen with a Caucasian, while it was Kelly's insistence that they perform with him. The Nicholas Brothers were the ones punished. When released to the feature movie theater circuit distribution, this Nicholas Brothers sequence was deleted by MGM when screened in the Southern States, such as Memphis, because it featured black performers, the result of racial bigotry in the South. Only in the Northern States' movie theaters, were audiences allowed to view the entire end production presentation. Essentially blackballed, Fayard and Harold Nicholas moved to Europe and did not return until the mid-sixties making a comeback appearance on The Hollywood Palace (1964) hosted by Roy Rogers and Trigger.
"I Want to Be a Minstrel Man," Kid Millions (1934)
This sequence, which TW: features a glimpse of star Eddie Cantor applying the burnt cork for his blackface appearance, features a very young Harold Nicholas (his older brother Fayard joins him in a different part of the sequence) singing and dancing like a pro, as well he might've done, given that he had been performing professionally since he was 5 years old.
It's actually unusual, I think, to see him as the centerpiece of this bit, with white Goldwyn Girls dancing around him as they would for a white singing star. Maybe the fact that he was a kid made him unthreatening in a way that a Black man could never be in the audience's eyes.
Blink, and you'll miss Lucille Ball as a Goldwyn Girl in this number. But the film features a pretty good cast besides her and the Nicholas Brothers, including a great turn by Ethel Merman as a grifter posing as Cantor's mother, and Ann Sothern and George Murphy as the romantic leads.
Click above for a 45-page pressbook issued for this film. Quite remarkable in its comprehensiveness of press and promotional material available to media and exhibitors.
Today's illustration is of Fayard and Harold Nicholas, better known as the Nicholas Brothers. They were a team of dancing brothers who performed flash dancing, a form of tap dance that combined jazz with acrobatics.
The brothers started out as child performers in vaudeville, but they became stars during the height of the Harlem Renaissance. They went on to star in Broadway musicals and Hollywood movies, where they were some of the first Black performers to perform in integrated films. Their careers spanned over six decades.
The Nicholas Brothers’ performance of Jumpin’ Jive with Cab Calloway in the movie Stormy Weather is considered to be the most virtuosic dance display of all time. Fun fact: they didn’t even rehearse the scene, they did it in one take.
I’ll be back tomorrow with another illustration and story!
I’ll be back tomorrow with another illustration and story!