I'm ready for my close-up.

George Stevens’ direction and the photography by David Abel emphasized the shimmering contrasts often seen in the Astaire-Rogers films. The glittering whites and the deep blacks are constantly showing up in the sets, costumes and design. It is no mistake that snow is repeated several times as a romantic motif, and mirrored on the major club set as twinkling stars. [x]

Fred Astaire and Ginger Rogers photographed for The Barkleys of Broadway (1949)

That’s pure bunk. I adored Fred. We were good friends. Our only problem is that we never aspired to be any kind of a team. We didn’t want to be Abbott and Costello. We thought of ourselves as individuals. We didn’t intend to be another Frick and Frack. [smiling, after a pause] But it happened anyway, didn’t it? And I’ll be forever grateful it did. Ginger was brilliantly effective. She made everything work for her. Actually, she made things very fine for the both of us and she deserves most of the credit for our success.

Over a period of six years Rogers and Astaire made nine films for RKO. Their talent, charm and chemistry allowed them to become one of the most iconic dance teams in the history of film, and ensured their enduring legacy.

Just the way you look tonight