Showing posts with label 2008. Show all posts
Showing posts with label 2008. Show all posts

Tuesday, 8 March 2022

CYD CHARISSE ,AMERICAN ACTRESS BORN 1921 MARCH 8 -2008 JUNE 17

 

CYD CHARISSE ,AMERICAN ACTRESS 

BORN 1921 MARCH 8 -2008 JUNE 17




Cyd Charisse (born Tula Ellice Finklea; March 8, 1921[1] – June 17, 2008[2]) was an American actress and dancer.

After recovering from polio as a child and studying ballet, Charisse entered films in the 1940s. Her roles usually featured her abilities as a dancer, and she was paired with Fred Astaire and Gene Kelly; her films include Singin' in the Rain (1952), The Band Wagon (1953), Brigadoon with Gene Kelly and Van Johnson (1954) and Silk Stockings (1957). She stopped dancing in films in the late 1950s, but continued acting in film and television, and in 1991 made her Broadway debut.[3] In her later years, she discussed the history of the Hollywood musical in documentaries, and was featured in That's Entertainment! III in 1994. She was awarded the National Medal of the Arts and Humanities in 2006.





Early life[edit]

Cyd Charisse was born Tula Ellice Finklea in Amarillo, Texas, the daughter of Lela (née Norwood) and Ernest Enos Finklea, Sr., who was a jeweler.[4] Her nickname "Sid" was taken from her older brother Ernest E. Finklea jr., who tried to say "Sis".[5] It was later given the spelling of "Cyd" by Arthur Freed.[6]

She was a sickly girl who started dancing lessons at six to build up her strength after a bout of polio. At 12, she studied ballet in Los Angeles with Adolph Bolm and Bronislava Nijinska, and at 14, she auditioned for and subsequently danced in the Ballet Russe de Monte-Carlo as "Felia Siderova"[7][8] and, later, "Maria Istomina".[8] She was educated at the Hollywood Professional School.[9]

During a European tour, she met up again with Nico Charisse, a young dancer she had studied with for a time in Los Angeles. They married in Paris in 1939 and had a son, Nicky, born in 1942.[5]





Career[edit]

Early films[edit]

She appeared uncredited in some films like Escort Girl (1941) and was in a short for Warner Bros, The Gay Parisian (1942).

The outbreak of World War II led to the breakup of the ballet company, and when Charisse returned to Los Angeles, David Lichine offered her a dancing role in Gregory Ratoff's Something to Shout About (1943) at Columbia. This brought her to the attention of choreographer Robert Alton—who had also discovered Gene Kelly—and soon she joined the Freed Unit at Metro-Goldwyn-Mayer, where she became the resident MGM ballet dancer.[7]

Early MGM roles[edit]

Charisse made some uncredited appearances in Mission to Moscow (1943) (as a ballet dancer) and Thousands Cheer (1943). She was borrowed by Warners for In Our Time (1944), playing a ballerina.

Charisse was a ballerina in Ziegfeld Follies (produced in 1944 and released in 1946), dancing with Fred Astaire. Feedback was positive and Charisse was given her first speaking part supporting Judy Garland in the 1946 film The Harvey Girls.[10]

She followed it with Three Wise Fools (1946) and she danced with Gower Champion to "Smoke Gets in Your Eyes" in Till the Clouds Roll By (1946). She also had a supporting role in the Esther Williams musical Fiesta (1947).

Rising fame[edit]

Charisse was second billed in The Unfinished Dance (1947) with Margaret O'Brien but the film was a box office flop.[11] She had a good supporting part in On an Island with You (1948) with Williams and danced in The Kissing Bandit (1948). She had a supporting part in Words and Music (1948).

Charisse was given another opportunity in a "B" movie, Tension (1950), where she was third billed, but it was a box office disappointment. She was billed fifth in the prestigious East Side, West Side (1949) and was borrowed by Universal to play the female lead in The Mark of the Renegade (1951).

Back at MGM Charisse was the leading lady in The Wild North (1951) with Stewart Granger, which was a huge hit. Because Debbie Reynolds was not a trained dancer, Kelly chose Charisse to partner with him in the celebrated "Broadway Melody" ballet finale from Singin' in the Rain (1952), which was acknowledged soon after release as one of the greatest musicals of all time.

Stardom[edit]

Charisse had a significant role in Sombrero (1953) as well as the lead female role in The Band Wagon (1953), where she danced with Astaire in the acclaimed "Dancing in the Dark" and "Girl Hunt Ballet" routines. Vincente Minnelli directed. Critic Pauline Kael said that "when the bespangled Charisse wraps her phenomenal legs around Astaire, she can be forgiven everything, even her three minutes of 'classical' ballet and the fact that she reads her lines as if she learned them phonetically."[12] The film was another classic but lost money for MGM.[11]





Charisse had a cameo in Easy to Love (1953) then co-starred with Kelly in the Scottish-themed musical film Brigadoon (1954), directed by Minnelli. It was a box office disappointment. She again took the lead female role (alongside Kelly) in his MGM musical It's Always Fair Weather (1955), which lost money.[13] In between she made an appearance in Deep in My Heart (1954).

Charisse co-starred with Dan Dailey in Meet Me in Las Vegas (1956), which also lost money. She rejoined Astaire in the film version of Silk Stockings (1957), a musical remake of 1939's Ninotchka, with Charisse taking over Greta Garbo's role. Astaire paid tribute to Charisse in his autobiography, calling her "beautiful dynamite" and writing: "That Cyd! When you've danced with her you stay danced with."[14][15] The film was well received but lost money for MGM.[16]

In her autobiography, Charisse reflected on her experience with Astaire and Kelly:

As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan's help, creates fabulous numbers—for himself and his partner. But Kelly can create an entire number for somebody else ... I think, however, that Astaire's coordination is better than Kelly's ... his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you! ... To sum it up, I'd say they were the two greatest dancing personalities who were ever on screen. But it's like comparing apples and oranges. They're both delicious.[17]

Charisse had a slightly unusual serious acting role in Party Girl (1958), where she played a showgirl who became involved with gangsters and a crooked lawyer, although it did include two dance routines. It was far more profitable for MGM than her musicals.[11]

She went to Universal to co-star with Rock Hudson in Twilight for the Gods (1958).

1960s[edit]

After the decline of the Hollywood musical in the late 1950s, Charisse retired from dancing but continued to appear in film and TV productions from the 1960s through the 1990s. She went to Europe to make Five Golden Hours (1961) and Minnelli's Two Weeks in Another Town.

She had a supporting role in Something's Got to Give (1962), the last, unfinished film of Marilyn Monroe. She did Assassination in Rome (1965) in Italy.

A striptease number by Charisse set to the movie's theme song opened the 1966 Dean Martin spy spoof, The Silencers, and she played a fashion magazine editor in the 1967 caper film Maroc 7.

She frequently performed dance numbers on TV variety series such as The Ed Sullivan Show and The Dean Martin Show, with seven appearances on The Hollywood Palace, a show she also hosted three times. She did Fol-de-Rol in 1968, which was filmed and broadcast in 1972.

1970s and 1980s[edit]

In the 1970s and 1980s Charisse guest-starred on shows such as Medical Center, Hawaii Five-O, The Love Boat, Fantasy Island, The Fall Guy, Glitter, Murder, She Wrote, and Crazy Like a Fox.

She had a cameo in Won Ton Ton, the Dog Who Saved Hollywood (1976) and played Atsil, an Atlantean high priestess, in the 1978 fantasy film Warlords of Atlantis.

Charisse was in the TV movies Portrait of an Escort (1980) and Swimsuit (1989).

She also made cameo appearances in Blue Mercedes's "I Want to Be Your Property" (1987) and Janet Jackson's "Alright" (1990) music videos.

Later career[edit]

Charisse appeared on Broadway from late 1991 as a replacement for Liliane Montevecchi in Grand Hotel.[3] Her last film appearance was in 1994 in That's Entertainment! III as one of the onscreen narrators of a tribute to the great MGM musical films. She also appeared in episodes of Burke's Law and Frasier in 1995 before retiring from acting. Subsequently, she made a brief and posthumous comeback in the TV movie Empire State Building Murders, which aired some two months after her death in 2008.

Later years[edit]

Charisse in 1987

In 1976, Charisse and her husband Tony Martin wrote their joint memoirs with Dick Kleiner entitled The Two of Us (1976). In 1990, following similar moves by MGM colleagues Debbie Reynolds and Angela Lansbury, Charisse produced the exercise video Easy Energy Shape Up, targeted for active senior citizens. She made her Broadway debut in 1989 in the musical version of Grand Hotel as the aging ballerina, Elizaveta Grushinskaya.[5] In her eighties, Charisse made occasional public appearances and appeared frequently in documentaries spotlighting the golden age of Hollywood.

She was featured in the 2001 Guinness Book of World Records under "Most Valuable Legs", because a $5 million insurance policy was reportedly issued on her legs in 1952.

Personal life[edit]

Charisse's first husband, whose surname she kept, was Nico Charisse (March 1906 – April 1970);[18] they were married in 1939 and had a son, Nico "Nicky" Charisse, before divorcing in 1947. In 1948, Charisse married singer Tony Martin, and remained married until her death in 2008. They had a son, Tony Martin, Jr. (1950–2011).[19]

Her daughter-in-law is actress and model Liv Lindeland, who was married to Tony Martin, Jr. until his death in 2011. Sheila Charisse, another daughter-in-law, died in the crash of American Airlines Flight 191 on May 25, 1979.[20] Charisse, like her husband Tony Martin, Sr., was a staunch Republican and campaigned for Barry Goldwater in the 1964 United States presidential election[21] and Richard Nixon in 1968.[22] She was the aunt of the actress Nana Visitor.[citation needed]

Charisse was admitted to Cedars-Sinai Medical Center in Los Angeles, California on June 16, 2008, after suffering an apparent heart attack. She died the following day at age 86.[23] She was a practicing Methodist, but due to her husband's religion she was buried at Hillside Memorial Park Cemetery, a Jewish cemetery in Culver City, California,[24] following a Methodist ceremony.[25][26]

Honors[edit]

Charisse with George W. and Laura Bush, accepting the National Medal of Arts and Humanities Award in 2006. Photo by Paul Morse

On November 9, 2006, in a private White House ceremony, President George W. Bush presented Cyd Charisse with the National Medal of the Arts and Humanities, the highest official U.S. honor available in the arts.[27]










Filmography[edit]

Features:

Short subjects:

  • Rhumba Serenade (1941)
  • Poeme (1941)
  • I Knew It Would Be This Way (1941)
  • Did Anyone Call? (1941)
  • Magic of Magnolias (1942)
  • This Love of Mine (1942)
  • 1955 Motion Picture Theatre Celebration (1955) as Herself (uncredited)

Television:

  • What's My Line? – Tribute episode to Fred Allen, air date March 18, 1956[28]
  • Medical Center – Season 6, Episode 16, "No Way Home" (1975) as Valerie
  • Hawaii Five-O – Season 11, Episode 7, "Death Mask" (1978) as Alicia Warren
  • Murder, She Wrote – Season 2, Episode 1, "Widow, Weep for Me" (1985) as Myrna Montclair LeRoy
  • Frasier – Season 3, Episode 7, "The Adventures of Bad Boy and Dirty Girl" (1995) as Polly (voice)

Theater[edit]

Music videos[edit]

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Cyd Charisse, 1921-2008

 



Cyd Charisse, 1921-2008

I was less than 10 years old but I can still remember my father's expression when one morning he told me he was going to watch Brigadoon. "Who's in it?" I asked. "Gene Kelly and Cyd Charisse." "Cyd Charisse? Who's he?"

With great emphasis: "SHE."

"A lady named Cyd?"

"YES, honey."

"So she was pretty?"

If all goes well with childrearing there aren't many moments where a parent says to himself "what the hell have I produced here?" but this was one for my father, I have no doubt. His face was beyond pained as he said, "All right. We'll watch this movie and then you tell me."

For many fans of Cyd Charisse, Brigadoon probably ranks somewhere between Meet Me in Las Vegas and that bit in The Harvey Girls where she sings (via dubbing) about being from Providence, Rhode Island. But as a child I thought it was swell and I still do. Why does everybody single out Brigadoon for being shot on the back lot? Does Seven Brides for Seven Brothers look like it was shot in Oregon? Does Easter Parade scream "sidewalks of New York" to you? Brigadoon is a fantasy, for crying out loud. Of course it doesn't look like Scotland. That is because Scotland has no magical disappearing 18th-century villages. In the Siren's view, Vincente Minnelli struggling with Cinemascope, which he disliked, had more to do with some of the movie's awkwardness than the obvious sets.

But there is still a lot to love. Minnelli lit the interiors to resemble Flemish paintings. The scene in the crowded Manhattan bar is brilliant. Van Johnson proved he could really act, and the Lerner and Loewe score is fabulously beautiful.






Most of all, "The Heather on the Hill" is sublime, with that sexual longing that's in all Charisse's dancing, married to a spiritual feeling in keeping with the film's mysticism.

So the Siren has a special place in her heart for Brigadoon for a number of reasons, but the greatest of these is undoubtedly that the movie was the first time she saw Cyd Charisse, the matchless dancer who died yesterday at age 86.




I think the next time I saw Charisse was in Singin' in the Rain. I like to think this was probably my father's introduction to her, as he was in the Army around this time, and could easily have been in an audience reacting exactly the way David Shipman describes here:

If you were in an air-force cinema, circa 1952, you'll never forget the sound which greeted the appearance of Cyd Charisse halfway through the climactic ballet in Singin' in the Rain. The audience to a man greeted the sinuous leggy beauty with a loud and prolonged 'Ooooaah!' As she slithered round an understandably bewildered Gene Kelly, there was uproar in the cinema. Cyd Charisse didn't do more than dance in Singin' in the Rain and people remember her in it.


It was a star-making turn such as few performers ever get. Up to that time the beautiful Texan had been getting herself married, having a son, getting divorced, then getting married to singer Tony Martin in 1948 and having another son. (One early role the Siren would like to see: Cyd's brief turn as Galina Ulanova in the notorious Mission to Moscow.) There were movies along the way as Hollywood gave her dancing numbers in generally inferior musicals and tried to find use for her in straight roles. She never comfortably adapted to non-musical parts, despite a pretty good late-career performance in the underrated Two Weeks in Another Town.





It was her run of musicals at MGM in the 1950s that guaranteed her immortality, including Singin' in the Rain and another masterpiece that followed it, The Band Wagon. Fred Astaire called "The Girl Hunt Ballet" his favorite dance. Charisse, who had been in a couple of noirs without making much of an impression, took a Mickey Spillane spoof and danced a femme fatale for the ages: "She was bad...she was dangerous. I wouldn't trust any further than I can throw her. But she was my kind of woman."




As in The Band Wagon, Charisse's greatest moments usually cast her as a woman whose jazzed-up dancing is seen as slumming somehow. In that sense she was perfectly of the 1950s, her sensuality boiling along under the surface as she gives her frequently wooden line readings. Then the music starts, she begins to dance and all hell breaks loose. You realize that here is the real Cyd, a dose of sex so strong that at some point in the dance her partner, even a great like Astaire or Kelly, seems bowled over by it.

So in The Band Wagon, she's a ballerina with a bad attitude about musicals, until she and Astaire go "Dancing in the Dark." In Meet Me in Las Vegas, she's a ballerina again, horrified by her contract to perform in Vegas, giving a nice-but-no-more bit from Swan Lake--and then all but igniting the film stock with "Frankie and Johnny."

She gave her best all-around performance in It's Always Fair Weather as a woman who harbors a brain under the bombshell exterior, sporting some dangerously feminist ideas in a cab scene with Gene Kelly, then raising the gym roof with a chorus of punch-drunk boxers in "Baby, You Knock Me Out." Her final musical at MGM had her taking the old Garbo role as a defrosted Soviet in the Ninotchka remake, Silk Stockings, discovering the power of her own beauty in a number partnered only by some lingerie and the items of the title. Her last great dancing part, in Nicholas Ray's Party Girl, brought the two-sided Cyd to some sort of apotheosis, as she tries to set Robert Taylor straight while performing two dances that would turn any good man bad.

For years now the Siren had occasionally searched around for current pictures of Charisse, and she always looked radiantly happy and beautiful. It was a great life, but it's still a sad day for us. The Siren leaves the final word to Astaire: "That Cyd! When you've danced with her, you stay danced with."

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