What an outstanding number! This, and her other wartime films, are so under-recognised, yet as good as the MGM performances that she remains best known for. Ann Miller was 19 or 20 years old here, and already performing for over a decade by this time. Having signed her first film contract at 13 (after adding on five years thanks to a fake birth certificate saying she was 18), she was one of those Hollywood female stars of the Greatest Generation who fought hard for everything and was very close to her mother, like friends, Ginger Rogers and Lucille Ball. Thank you for sharing this previously unseen piece, and thanks Annie!
I can't "not love" Ann Miller. So many wonderful moments of her dance routines never get tiresome. I could be wrong, but I believe she was officially timed as the fastest tap dancer ever, One of a Kind ! ❤
Now lang ako nakakapanood ng mga ganito ka lumang movies grabe 7/30/2022 ang gagaling sumayaw ng mga babaeng artista pala noon, compare sa ngayong panahon, ngayon kahit d naman talaga magaling sumayaw binabansagang goddes of dance floor, queen of dance floor royal majesty of the dance floor wala silang lahat sa kalingkingan nitong mga sinaunang mga artistang babae grabe ang bibilis ng mga paa at napaka graceful magsayaw nilang lahat
If a 20 y.o. with half her skill and enthusiasm turned up on one of today's TV talent shows, they would not know what to do with her. Hell, most of the judges on these contests are fit only to reheel Ann's shoes.
Ann had to get away in a hurry from that fiery V sign at the finish. At one rehearsal she was not quite fast enough. Her costume was singed and she was slightly burned. The studios were so careless about health and safety back then. Dancers especially were constantly being injured. It was all in the day's work.
How did they record the vocals so clearly? The tapping sounds great. They either we're really ahead of their time back then or this is over-dubbed after the performance. Edit: I just looked it up and the singing/tap dancing was overdubbed.
Production Code fashion note: In 1939 Eleanor Powell had got away with wearing high-cut bikini pants rather than shorts in 'All Ashore' ('Broadway Melody of 1940') b/c the censors accepted that if they were OK for one-piece swimsuits- just about- they were excusable for freedom of movement while dancing. When the war broke out and the GIs had to be shown something worth fighting for besides democracy, costumes became more revealing all over. Ann's glittery little fringe barely hides her gorgeous young gams. The most popular pinup of World War Two had Betty Grable in a backless one-piece bathing costume that just covered her rear end. Oddly enough, early two-pieces usually showed a little less, e.g. the one Garbo wore very briefly in 'Two Faced Woman' (1941). Maybe star hoofers were given a pass b/c of a certain air of innocence. Both Powell and Miller remained virgins till they married.
Actually, the 4 opening notes of Beethoven’s Fifth Symphony were ultra-patriotic during World War II and were used by BBC Radio in Britain at the start of all their newscasts. This was because the duration of the notes - 3 short, one long - were the same as how the letter “V” was coded in Morse Code: “dot dot dot dash”.
I love Ann for her pep and pace, but boy did she copy her idol, Eleanor Powell. For example, the somersault at the end is like Ellie's 'Fascinating Rhythm', filmed a year or two earlier... except that Ellie did eight somersaults in a row, faster, then went straight into spins. The clip is from ' Reveille with Beverley'. No dance director is credited, and no wonder.
Eleanor was wonderful, but by no means did she invent those flips. Those have been used on Stage in vaudeville for years before Eleanor Powell ever came on the scene. Eleanor Powell’s style was nothing like Ann Miller’s. They were really nothing alike. Plus Ann sang, Eleanor never did.
@@daphnemaxwell149 On point! And I agree that their styles were completely different. I feel that Eleanor was more creative or inventive with her incorporations but Ann is pure energy! Her smile, pep, speed... she's equally amazing in her own right!
@@daphnemaxwell149 Eleanor sang without a ghost in 'Rosalie' and 'Broadway Melody of 1940'. Of course 'flash' moves such as cartwheels are nothing new- they go back to the circus and to mediaeval 'tumblers'. But Ellie incorporated acrobatics into routines based on ballet or tap and made it all flow smoothly in a pattern: usually a crescendo alternating fast and slow, quiet and spectacular passages. This demonstrated choreographic insight as well as power and control. Ann was not a creator; she was the Energizer Bunny, who needed guidance. But her usually second-rate dance directors showed off her pep, speed and skill without doing anything more than flaunting those qualities. Hence she remained stuck in the guest-spot, 'specialty' slot down the cast list; whereas Powell gathered supportive talent round her like the Sun circled by planets and dominated her pictures. When for once Ann was teamed with a choreographic master, Berkeley, the result was the spectacular 'I Gotta Hear That Beat' from 'Small Town Girl'. It proved how much more Ann might have achieved had the studios seen her as more than an added attraction. Yet even that was an interlude when she was playing third fiddle to Jane Powell and Farley Granger. She had a fine comic spirit when acting and was a good singer. She might have become another Ginger with sensible handling.
“Someone” didn’t claim this; she herself said so in interviews. It happened before she shot “ “Shakin’ The Blues Away” for “Easter Parade”, and not only did she have a miscarriage, she cracked some bones in her back and had to wear a brace while she was dancing.
She was simply the best.
The manuever at 1:44, crazy. Awesome performance not just by Ann but the backup too.
What an outstanding number! This, and her other wartime films, are so under-recognised, yet as good as the MGM performances that she remains best known for. Ann Miller was 19 or 20 years old here, and already performing for over a decade by this time. Having signed her first film contract at 13 (after adding on five years thanks to a fake birth certificate saying she was 18), she was one of those Hollywood female stars of the Greatest Generation who fought hard for everything and was very close to her mother, like friends, Ginger Rogers and Lucille Ball. Thank you for sharing this previously unseen piece, and thanks Annie!
From philippines I love to watch old Hollywood movies it's great and amazing to watch ❤️❤️
I can't "not love" Ann Miller. So many wonderful moments of her dance routines never get tiresome. I could be wrong, but I believe she was officially timed as the fastest tap dancer ever, One of a Kind ! ❤
Totally excellent. Ann Miller is one of my inspirations in getting into theater and dance.
Now lang ako nakakapanood ng mga ganito ka lumang movies grabe 7/30/2022 ang gagaling sumayaw ng mga babaeng artista pala noon, compare sa ngayong panahon, ngayon kahit d naman talaga magaling sumayaw binabansagang goddes of dance floor, queen of dance floor royal majesty of the dance floor wala silang lahat sa kalingkingan nitong mga sinaunang mga artistang babae grabe ang bibilis ng mga paa at napaka graceful magsayaw nilang lahat
This is a 20 year old Ann Miller. I think she strted her film career around the age of 15. Not many dancers in her league; ever.
A great piece of history.
*14 years Old with Ginger Rogers!!!*
If I remember correctly, she got her father, a lawyer, to fake her birth certificate so she could sign the contract.
@@debbielough7754 That's right. He was a gangland attorney. Ann said it was pretty much the only good thing he ever did for her.
That’s for sure! She was incredible
Oh what this did for morale! Love it
damn. Ann Miller kicked ass.
Such an amazing talent!
If a 20 y.o. with half her skill and enthusiasm turned up on one of today's TV talent shows, they would not know what to do with her.
Hell, most of the judges on these contests are fit only to reheel Ann's shoes.
a spectacular, one of a kind talent!!
Never given the true credit she deserve, there should be a statue for her talent, beauty and patriotism, I pray she's in heaven and in absolute bliss.
Just awesome.
Ann had to get away in a hurry from that fiery V sign at the finish. At one rehearsal she was not quite fast enough. Her costume was singed and she was slightly burned.
The studios were so careless about health and safety back then. Dancers especially were constantly being injured. It was all in the day's work.
Could watch those pins all day!
*Those who BeLieve in JeHoVah GOD, wiLL Meet Ann MiLLer, in the Kingdom!!!!!*
That flaming "V" suddenly appearing in the floor was unexpected and kind of weird. But you have to admit that Ann herself sure was worth fighin' for!
Ann actually got burned during the filming.
@@aeichler *Does that SHOW, in this FiLming???*
The flaming "Vee" stands for another kind of victory in the battle of the sexes.
to this day NO ONE can tap dance (or dance) like ANN MILLER and she started at 15 in pictures
How did they record the vocals so clearly? The tapping sounds great. They either we're really ahead of their time back then or this is over-dubbed after the performance.
Edit: I just looked it up and the singing/tap dancing was overdubbed.
Thank God I was 5 years old had I known her then and even close to her years no douth I would have died of love.
Wow 🇺🇸
I've always loved Ann. Was that hat glued on or what?
Production Code fashion note: In 1939 Eleanor Powell had got away with wearing high-cut bikini pants rather than shorts in 'All Ashore' ('Broadway Melody of 1940') b/c the censors accepted that if they were OK for one-piece swimsuits- just about- they were excusable for freedom of movement while dancing.
When the war broke out and the GIs had to be shown something worth fighting for besides democracy, costumes became more revealing all over. Ann's glittery little fringe barely hides her gorgeous young gams. The most popular pinup of World War Two had Betty Grable in a backless one-piece bathing costume that just covered her rear end. Oddly enough, early two-pieces usually showed a little less, e.g. the one Garbo wore very briefly in 'Two Faced Woman' (1941).
Maybe star hoofers were given a pass b/c of a certain air of innocence. Both Powell and Miller remained virgins till they married.
Making the world safe for hoochie-coochie!
That's not a WAC uniform she's wearing is it?
LEGS
Guess nobody minded the musical quote from Beethoven's Fifth at the start, even if he was a German of sorts.
Lots of U.S. servicemen, Eisenhower, too, were "Germans."
Actually, the 4 opening notes of Beethoven’s Fifth Symphony were ultra-patriotic during World War II and were used by BBC Radio in Britain at the start of all their newscasts. This was because the duration of the notes - 3 short, one long - were the same as how the letter “V” was coded in Morse Code: “dot dot dot dash”.
che gambe.
I love Ann for her pep and pace, but boy did she copy her idol, Eleanor Powell. For example, the somersault at the end is like Ellie's 'Fascinating Rhythm', filmed a year or two earlier... except that Ellie did eight somersaults in a row, faster, then went straight into spins.
The clip is from ' Reveille with Beverley'. No dance director is credited, and no wonder.
*Soooo?????*
*I Love Elenor PoweLL, but Don't Try to Cheat Ann MiLLer!!!!*
Eleanor was wonderful, but by no means did she invent those flips. Those have been used on Stage in vaudeville for years before Eleanor Powell ever came on the scene. Eleanor Powell’s style was nothing like Ann Miller’s. They were really nothing alike. Plus Ann sang, Eleanor never did.
@@daphnemaxwell149 On point! And I agree that their styles were completely different. I feel that Eleanor was more creative or inventive with her incorporations but Ann is pure energy! Her smile, pep, speed... she's equally amazing in her own right!
@@daphnemaxwell149 Eleanor sang without a ghost in 'Rosalie' and 'Broadway Melody of 1940'.
Of course 'flash' moves such as cartwheels are nothing new- they go back to the circus and to mediaeval 'tumblers'. But Ellie incorporated acrobatics into routines based on ballet or tap and made it all flow smoothly in a pattern: usually a crescendo alternating fast and slow, quiet and spectacular passages. This demonstrated choreographic insight as well as power and control.
Ann was not a creator; she was the Energizer Bunny, who needed guidance. But her usually second-rate dance directors showed off her pep, speed and skill without doing anything more than flaunting those qualities. Hence she remained stuck in the guest-spot, 'specialty' slot down the cast list; whereas Powell gathered supportive talent round her like the Sun circled by planets and dominated her pictures.
When for once Ann was teamed with a choreographic master, Berkeley, the result was the spectacular 'I Gotta Hear That Beat' from 'Small Town Girl'. It proved how much more Ann might have achieved had the studios seen her as more than an added attraction. Yet even that was an interlude when she was playing third fiddle to Jane Powell and Farley Granger.
She had a fine comic spirit when acting and was a good singer. She might have become another Ginger with sensible handling.
Hollywood makes a show like this today and the Chinese Communist Party shuts down the studio
hahahahahaha!
*You IGNORANT STUPID TRUMP ZOMBIE!!!!*
She’s 24 in this movie
19 or 20. She was still lying about her age.
TRUMP 2024🇺🇸!!
Wake up with Beverly
“Reveille With Beverly”.
She lost a baby after her husband pushed her down a flight of stairs (someone claimed).
Omg never heard that
“Someone” didn’t claim this; she herself said so in interviews. It happened before she shot “ “Shakin’ The Blues Away” for “Easter Parade”, and not only did she have a miscarriage, she cracked some bones in her back and had to wear a brace while she was dancing.
Making the world safe for hoochie-coochie!
That's not a WAC uniform she's wearing is it?
It wasn’t meant to be.
@@p.t.d.505 : Oh, really?
@@adamnoman4658 - Yes. Just a costume, inspired by the military.