This arrived in the mail today, just in time for my birthday! Freddie dancing up the walls and on the ceiling in Royal Wedding, 1951.
This picture capturing the wonderful rollerskating number Let's Call the Whole Thing Off from Shall We Dance from 1937 showed up in a little antique store in the middle of nowhere in Germany. They had a whole batch of Astaire pictures and I got three of them for the price of one! Yay! A very special find.
I really don't like Leslie Caron, but eh, it's not like I notice her when standing next to Astaire. Gosh, just look at him! He's astairing so hard in this picture.
Fred Astaire for Daddy Long Legs in 1955. I've always loved this picture because I think his gaze is so sexy, and I'm excited to now have it in my collection. That brunette is totally me, by the way, gently holding his hand, sticking my titties out, desperately trying to get his attention. "Hello, I'm over here!", I'm screaming inside. And he just couldn't care less. Oh well.
Fred Astaire in his final screen appearance in Ghost Story, 1981.
I just about died when I won this picture at an auction, but then I magically came back to life again. Just look at him! He's the sweetest, and I love when he wears white pants. This is one of a series of shots photographer John Miele took of Astaire playing tennis, around the time when he was shooting Shall We Dance in 1937. The image is in excellent condition, everything is super crisp and sharp, and Fred smells amazing! I really can't stop sniffing on these old pictures, I guess it makes me feel like it brings me closer to the golden days.
Fred Astaire in a promotional still for Daddy Long Legs, 1957.
My first Fred, and something tells me it's not gonna be my last. Here he is with director Stanley Kramer during the making of On the Beach. This was Astaire's first dramatic role, the first time he wasn't gonna dance. He was actually nominated for an Oscar for his performance, but of course he doesn't know that yet. I love how intently he's listening to Kramer, and I adore how he's sat there. Maybe my favorite thing about Astaire is that even when he was old, his body language always remained that of a young boy—in fact the older he got the more evident it became. I sometimes call him 'the eternal boy'. He's sixty years old here, but he's sitting there like a teenager. He wasn't a man of words, but his body was constantly expressing itself, constantly communicating with the world. The way his one hand is fumbling around on his foot, the way his other hand is by his face. There's always that vulnerability, and always that strength. It's so profoundly attractive how his body spoke. He loved spending time in Australia where this film was shot, and he could walk around fairly unrecognized. His co-star Gregory Peck said that he'd spend hours going through five-and-dime stores and get a kick out of buying random things like pencil sharpeners.