Top 20 Iconic Fred Astaire Dance Scenes
#20: “Nice Work If You Can Get It” “A Damsel in Distress” (1937)
Is there anything this guy can’t do? Fred Astaire put on his best coattails to dance and drum his way through “Nice Work If You Can Get It.” He rocks out on the drums between his steps, and incorporates them into his routine. It’s clear that the dancer could’ve been a full-time percussionist in another life, with the ability to tap and keep the beat in equal measure. Astaire creates infinite possibilities within a limited space through his combination of dancing and drumming, and it’s a joy to watch. “Nice Work If You Can Get It” is the perfect number to study if you ever need pointers on multitasking.
#19: “Seeing’s Believing” “The Belle of New York” (1952)
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For Fred Astaire, any surface is a dance floor. Just look at this fantastical sequence from “The Belle of New York.” The scene takes place at the top of the Washington Square Arch, with the dancer skipping around while dressed to the nines. Strolling close to the edge, he makes this process shot look surprisingly real. He even climbs a ladder with ease, with each step appearing as graceful as ever. The performer becomes one with the birds and sells a number of complex stunts, including a ride on a moving platform. With a few precarious-looking moves to finish the routine, Astaire transforms the set into a stage.
#18: “I Used to Be Color Blind” “Carefree” (1938)
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This fantasy sequence from the 1938 film “Carefree” is a truly romantic scene, courtesy of Fred Astaire and Ginger Rogers. During “I Used to Be Color Blind,” the two performers inhabit a dream and slowly fall in love. Astaire plays Tony, the psychiatrist to Rogers’ Amanda. He meets his patient in a wonderland, spinning with her in the paradisiacal world. Eventually, everything morphs into slow motion as the pair perform their blissfully elegant routine. Making true love seem possible, the duo make the fantasy feel real and engaging with their every move. By the end, the actor dips his partner, planting an epic kiss on the leading lady.
#17: “One for My Baby (and One More for the Road)” “The Sky’s the Limit” (1943)
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Fred Astaire dances himself silly in one of his classic solo routines in “The Sky’s the Limit.” During “One for My Baby (and One More for the Road),” the actor takes a night out to the extreme in this drunken dance. Down on his luck, Astaire’s character Fred produces a cathartic, glass-breaking tap performance. Jumping onto the bar, he takes advantage of every inch and makes the most of his makeshift stage. Somehow, he doesn't hurt himself or completely ruin the surface in the process. The performer puts his unmatched footwork on display, sliding his way into history with this impressive bar room act.
#16: “The Babbitt and the Bromide” “Ziegfeld Follies” (1945)
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Thanks to the vignettes and musical numbers in “Ziegfeld Follies,” legends Fred Astaire and Gene Kelly got to come together for a dance duet. It’s rare to see two masters shimmy together, making this scene worth watching for the marquee talent alone. The performers wear smiles as they tap along and playfully mess with each other. After a scene change, they appear with harps, sporting new facial hair in an equally glowing segment. The best part is that they share the screen in complete harmony, with neither upstaging the other. These two icons look like they’re having the time of their lives, and we’re right there with them.
#15: “Dem Bones Café” “The Band Wagon” (1953)
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In Vincente Minnelli’s (Vincent) musical “The Band Wagon,” Fred Astaire and friends glow in beautifully staged dance numbers. One of the film’s most memorable sequences occurs during the “Girl Hunt Ballet,” with the actor playing and dancing as a detective character. This jazzy number takes off as he enters the Dem Bones Café and encounters several unsavory types. The tense energy turns far more sultry when star Cyd Charisse joins Astaire in a seductive routine. The piece has a little bit of everything, from delicate movements to fights. Its noir story ends in a bang, with each dancer only adding to the acrobatic scene.
#14: “Drum Crazy” “Easter Parade” (1948)
Astaire finds himself back in front of a drum set for this song in “Easter Parade.” Taking place in a toy shop, his character Don sells a boy on the wonders of percussion. The dancer has a host of kits to play and kick while effortlessly moving to the rhythm, and he doesn’t hold back. However, it’s all a master plan to convince the young shopper to trade his bunny for a shiny new instrument. He really makes use of the store’s musical inventory, hitting drum heads of all sizes and dancing like there’s no tomorrow. It’s easy to see why he gets the stuffed animal in the end.
#13: “Let Yourself Go” “Follow the Fleet” (1936)
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This sequence from “Follow the Fleet” gets off to a rousing start, with Ginger Rogers’ character Sherry singing “Let Yourself Go.” Her performance comes to an end as Fred Astaire’s sailor Bake arrives, and the pair reconnect. They then take the floor during a dance competition later that night, showing off some of their signature moves for a captivated audience. While their rivals provide stiff competition, the legendary duo do wonders in an expert tap routine, with amazingly quick steps and well-times moves. The film has many impressive numbers, like “Let’s Face the Music and Dance,” but this particular one is the brightest. Needless to say, you should never challenge Astaire and Rogers.
#12: “Dancing in the Dark” “The Band Wagon” (1953)
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In a career full of elaborate dances, Fred Astaire would occasionally slow things down for a simple and romantic routine. And this showing with Cyd Charisse beautifully ruminates on more subtle moves. A moonlit arrangement sets the tone as they stroll through the park. Astaire’s chemistry with Charisse is something to behold, and gives the dance an added flair that’s hard to resist. The pair say so much with just their bodies, a park bench, and a street lamp, never needing to utter a word. Their movements are so elegant and engaging that it’s difficult to quantify the magic emanating from this passionate feat.
#11: “They Can’t Take That Away from Me” “The Barkleys of Broadway” (1949)
Widely known as the final screen pairing between Astaire and Rogers, this movie carries a lot of sentimental value. So it’s especially fitting that it features one of the most famous tunes from their many appearances together. While the actor sings the song in “Shall We Dance,” that film didn’t give them a chance to provide choreography. Luckily, this routine more than makes up for it, and the number’s emotion only makes their classy exit more memorable. Just when the dance seems to slow down, the two add in a few stylish twirls and spins to spice things up. Proving that they weren’t past their prime, this arrangement allowed Rogers and Astaire to part ways in a worthwhile fashion.
#10: “Top Hat, White Tie and Tails” “Top Hat” (1935)
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Playing Jerry Travers in one of his most revered films, Astaire offers up a classic outfit and equally dapper dance number. Joining a slew of other well-dressed men on stage, he pays tribute to his costume in an elaborate set piece. He also shows how fashion can be function, turning his cane into a key prop. Here again his gift for percussion is seen as he uses it to punctuate his tapping. When rejoined by the ensemble, Astaire aims his cane like a weapon, with the others dropping to the sound of his heel clicks. Few of the performer’s dances were as purely original or theatrically complex as this one, making it one to remember.
#9: “The Shorty George” “You Were Never Lovelier” (1942)
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Some people might not remember that Fred Astaire shared the screen with Rita Hayworth in two films. “The Shorty George” from “You Were Never Lovelier” finds the actor in top form as Bob Davis opposite Hayworth, who portrays Maria Acuña. Making use of an empty locale, he entices her to dance with a little help from a live band. No slouch herself, the actress stays right with her co-star through every complicated step and turn. What we see is two dancers in complete control who are clearly also having a great time. Their smiles and taps combine to make this one of Astaire’s most underrated yet noteworthy performances.
#8: “You’re All the World to Me” “Royal Wedding” (1951)
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Astaire dances into the history books with this experimental number that would make Isaac Newton furious. Taking his talents up the wall, he gives a new meaning to the phrase “dancing on the ceiling.” A number of ingenuous production tricks make this piece entirely unique, as he effortlessly transitions between the walls and ceiling. Released roughly two decades into Astaire’s film career, "Royal Wedding" cements his status as a dance visionary. He also delivers a hugely entertaining number with a hatrack called “Sunday Jumps,” but “You’re All the World to Me” wins for its gravity-defying heights. It’s certainly not hard to understand why it’s such a crowd-pleasing number.
#7: “I’ll Be Hard to Handle” “Roberta” (1935)
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Despite its unassuming name, “Roberta” houses another stellar effort from Fred Astaire and Ginger Rogers. They portray Huck and Scharwenka, respectively, and their piece for “I’ll Be Hard to Handle” starts with the latter serenading the former. When the melody restarts afterward, they find themselves starting a playful routine. The pair appear as nimble as ever, flying across the floor and executing some of their quickest steps. Before it’s all over, they tap themselves into oblivion with a few rat-a-tat heel clicks. The dance partners complete their showing with a little laughter, reminding us all of the perfect chemistry they share.
#6: “Let’s Call the Whole Thing Off” “Shall We Dance” (1937)
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Dancing with roller skates may seem hard, but there’s no task too difficult for Astaire and Rogers. Rolling into this scene from “Shall We Dance” as Peter and Linda, the two sing about their differences. They then keep their skates on for a breezy sequence, proving that they don’t need to change into their tap shoes to make a splash. The routine flows especially well, with neither performer showing any signs of imbalance. Rotating in long circles, the dance scene on wheels quickly becomes one of their most intricate numbers. Amazingly, they make it through the entire thing before the sudden and intended splat.
#5: “Begin the Beguine” “Broadway Melody of 1940” (1940)
While not well remembered today, the “Broadway Melody” series features some of the best dancers of the time. The “Broadway Melody of 1940” brings Fred Astaire and Eleanor Powell together in this alluring stage number. If the set and costumes don’t captivate you, the dancing surely will. Powell almost outsteps her counterpart, but the master of screen dance doesn’t quite let her. To finish off the number, the partners spin and twirl, making our heads spin in the best way. Always one to make a movie worth watching, Astaire’s sophisticated stylings in "Begin the Beguine" remind everyone why he’s the best at what he does.
#4: “Let’s Say It with Firecrackers” “Holiday Inn” (1942)
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The star takes the stage with a pocketful of firecrackers as Ted Hanover for this lively dance, set during the Fourth of July. The actor lights each one, providing an explosive accent to his steps. It sure beats the usual firework show, as Astaire’s solo dance is a stellar routine with a bang. Sure, there’s a couple flashes in the beginning, but that’s nothing compared to what happens later. Completely unfazed, Astaire continues dancing around the little explosions without flinching. You’ve got to hand it to the legend for putting his feet on the line in this daredevil performance.
#3: “Cheek to Cheek” “Top Hat” (1935)
Lucky for Fred Astaire and Ginger Rogers, they get to dance to the likes of Irving Berlin. Their film “Top Hat” features some of the songwriter’s best works, including this number that serves as a wonderful addition to their canon. The song and dance begins humbly enough, with the two stars delicately crossing a crowded floor. Things only get better when they find a secluded area to unleash their dancing chops without holding back. Their every maneuver, combined with the beautiful string arrangement, proves that a routine can be as romantic as any poem. Although “Isn’t This a Lovely Day?” also shows off the pair’s talents, this number truly lets them shine.
#2: “Puttin’ On the Ritz” “Blue Skies” (1946)
While Fred Astaire works wonders with a dance partner, he proves that he can do just as well solo in this number from “Blue Skies.” The actor puts his original stamp on the well-known “Puttin’ On the Ritz” track in full costume. Armed with a cane, the star makes several daring feats look easy. He swings and slams his walking stick in carefully executed moves, and it’s impressive at every turn. A touch of fantasy allows Astaire to dance with a number of his clones in an eye-catching finish. It goes without saying, but this elegant scene continues to stand out among the star’s individual routines.
#1: “Pick Yourself Up” “Swing Time” (1936)
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At the end of the day, we love to see Fred Astaire partner up with his perfect film match, Ginger Rogers. Their classic “Swing Time” contains what could be their best scene with “Pick Yourself Up.” After pretending to be a bad dancer, the actor’s character John returns to take Rogers’ Penny for an iconic spin. The free-flowing choreography and connection between the duo infuse this number with an undeniable magic. Their matchless skill as a team and the effortless charm of the performance create a recipe for something truly timeless. A spirited and absorbing dance number, “Pick Yourself Up” represents the best of Fred Astaire as a screen performer.
