Follow the Fleet

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Follow the Fleet
Image:Follow the Fleet DVD Cover.jpg Follow the Fleet DVD cover
Directed by	Mark Sandrich
Produced by	Pandro S. Berman
Starring	Fred Astaire Ginger Rogers Randolph Scott Harriet Hilliard
Music by	Irving Berlin Max Steiner (incidental music-uncredited)
Distributed by	RKO Radio Pictures Inc.
Release date(s)	February 20, 1936 (U.S. release)
Running time	110 min.
Language	English
IMDb profile

Follow the Fleet (RKO) is a 1936 Hollywood musical comedy film with a nautical theme and stars Fred Astaire, Ginger Rogers, Randolph Scott, Harriet Hilliard, Lucille Ball, and Betty Grable, with music and lyrics by Irving Berlin. The film was directed by Mark Sandrich with script by Allan Scott and Dwight Taylor based on the 1922 play Shore Leave by Hubert Osborne.

Dance commentators Arlene Croce and John Mueller point out that, aside from the obvious weakness<ref>Croce: "it's plot is a dead weight," p.82; Mueller: "bogged down by a sour, labored plot," p.89</ref>: a discursive and overlong plot lacking quality specialist comedians<ref>Mueller p.90</ref> to bring its whimsical elements to life - a flaw which also characterised<ref>Croce: "the story makes very little sense" p. 46</ref>Roberta - this film contains some of the Astaire-Rogers partnership's most prized duets, not least the iconic Let's Face The Music and Dance. According to Croce: "One reason the numbers in Follow the Fleet are as great as they are is that Rogers had improved remarkably as a dancer. Under Astaire's coaching she had developed extraordinary range, and the numbers in the film are designed to show it off."<ref>Croce, p.82</ref> That this film's remarkable<ref>Astaire: "one of his best" p.218</ref> score was produced immediately after his smash-hit score for Top Hat is perhaps testimony to Berlin's claim<ref>Mueller p.78</ref> that Astaire's abilities inspired him to deliver some of his finest work. As an actor, however, Astaire makes a somewhat unconvincing<ref>Mueller: "no one is taken in", p.89</ref> attempt at shedding the wealthy man-about-town image by donning a sailor's uniform, while Rogers, in this her fifth pairing with Astaire - brings her usual comedic and dramatic flair to bear on her role as a nightclub entertainer.

Follow the Fleet was extremely successful<ref>Croce: "with all its flaws Follow the Fleet was a shattering hit", p.84</ref> at the box office, and during 1936, Astaire's recorded versions of Let Yourself Go, I'm Putting All My Eggs In One Basket, and Let's Face The Music And Dance reached their highest positions<ref>Mueller p.412</ref> of 3rd, 2nd, 3rd respectively in the US Hit Parade.

1 Key songs/dance routines:
2 External links
3 References
4 Notes

[edit] Key songs/dance routines:

Hermes Pan collaborated with Astaire on the choreography, which dwells on themes of sudden changes in tempo, rhythm and direction. Competitive challenge is another important component.

We Saw The Sea: The film loses not a minute in introducing Astaire the sailor, and his mates, in this cheerful ditty.

Let Yourself Go: Backed by a trio which includes Betty Grable, a nautically-attired Ginger sings this bright and bubbly Berlin standard, which is followed after a short interlude by a comic tap duet with Astaire. This routine begins as a competitive challenge between Astaire-Rogers and another couple (who soon withdraw) and develops into an energetic duet with much emphasis<ref>Mueller p.92</ref> on galloping kicks, leg wiggling and scampering moves.

Get Thee Behind Me, Satan: Sung by Harriet Hilliard, this number was originally intended for Ginger in Top Hat.

I'd Rather Lead A Band: After singing this jaunty number Astaire embarks on a virtuoso tap solo in which he makes great play with the challenges of dancing on, off and around the beat - an ability for which he had long been famous in theatre. Complicating the task are frequent and sudden changes of tempi<ref>Mueller p.93</ref>. This concept would be explored further in his "conducting solo" finale of Second Chorus. After leading the band in the song, he discards the baton and begins the solo part of his routine. After this, he is joined by a chorus of sailors who are alternately led and challenged by him.

Let Yourself Go (solo dance): Ginger Rogers' only solo tap dance in her ten films with Astaire is an engaging<ref>Croce: "splendid and perky" p.88; Mueller: "sweet and winning" p.94</ref> routine which permits comparison<ref>Mueller p.94</ref> of Pan's independent choreography with his joint efforts with Astaire.

I'm Putting All My Eggs In One Basket: Berlin's remarkable<ref>Mueller p.95</ref> ability to combine endearing melodies with syncopated rhythms, complex key modulations and verbal dexterity is showcased in lines such as: "I've tried to love more than one/Finding it just can't be done/Honey, there's one I lie to/When I try to/Be true/To/Two". As in the I Won't Dance number from Roberta, the song is preceded by a solo piano display by Astaire - a playing style he termed his "feelthy piano". Then Astaire and Rogers sing alternate choruses before embarking on an affectionate comic dance duet which plays on the notion of both dancers being unable to keep in step with each other. Incidentally, Lucille Ball appears just before this number to put a sailor admirer down with the line "Tell me little boy, did you get a whistle or a baseball bat with that suit".

Let's Face The Music And Dance: One of the Astaire-Rogers partnership's most famous routines, this may be seen as a study in dance of Art Deco poses as portrayed by figurine sculptors of the day. Other Art Deco touches include the beautiful hand movements early on which recall those depicted in ancient Egyptian wall paintings. From a choreography standpoint, it has some elements in common with the Smoke Gets In Your Eyes number from Roberta. Astaire sings the poignant lyrics to Ginger after which the dance begins slowly and builds to a hedonistic climax, culminating in a flamboyant<ref>Croce: "a Joos-type lunge" p.89; Mueller: "daring and extraordinary pose" p.99</ref> static exit pose. The dance is filmed in one continuous shot lasting two minutes and fifty seconds. During the first take, Ginger's dress, which was heavily weighted so as to achieve a controlled swirling action, hit Astaire in the face<ref>Astaire: "I got the flying sleeve smack on the jaw and partly in the eye", p.220</ref> midway through the routine, though the effect is barely discernable. He nonetheless selected<ref>Astaire: "The No. 1 take was perfect. It was the one we all liked best.", p.220</ref> this take out of twenty overall for the final picture. The set - designed by Carroll Clark under the direction of Van Nest Polglase - is frequently cited as a leading example of Art Deco-influenced art direction known as Hollywood Moderne. Film clips of this routine were featured in the 1981 film Pennies from Heaven, where it was also reinterpreted by Steve Martin and Bernadette Peters with revised choreography by Danny Daniels.

[edit] External links

Follow the Fleet at the Internet Movie Database
[1]

[edit] References

Fred Astaire: Steps in Time, 1959, Heinemann, London
Arlene Croce: The Fred and Ginger Book, Galahad Books 1974, ISBN 0-88365-099-1
John Mueller: Astaire Dancing - The Musical Films of Fred Astaire, Knopf 1985, ISBN 0-394-51654-0

[edit] Notes

Fred Astaire and Ginger Rogers
Flying Down to Rio (1933) • The Gay Divorcee (1934) • Roberta (1935) • Top Hat (1935) • Follow the Fleet (1936) • Swing Time (1936) • Shall We Dance (1937) • Carefree (1938) • The Story of Vernon and Irene Castle (1939) • The Barkleys of Broadway (1949)