The Story of Vernon and Irene Castle

Moviecut—The Story of Vernon and Irene Castle

source: The Story of Vernon and Irene Castle

Fred and Ginger's final teaming for RKO after a popular six-year series is a bit of a damp squib to follow the likes of ‘Top Hat' and ‘Swing Time'. Vernon and Irene Castle were a massively popular dance team in the 1910s, and this is based on their story. The problem is that it is largely a story much like any other, and it looks clichéd. As usual, the duo dance brilliantly together, but they can't quite reach the level required for the dramatic sequences to work. The last sequence, with Irene looking out to the terrace after hearing of her husband's fatal accident, and seeing a ghostly depiction of the Castles dancing round, is just trite, and probably does the real couple no favours! A bit disappointing.

I LOVE THIS MOVIE!!! First of all, Fred and Ginger are where it's at in my opinion, so my feelings about this movie are not all that surprising. I own all the Astaire/Rogers movies, and this one is my second favorite. (the Barkleys of broadway rules) The dancing is great even if it is not really what we'd expect F&G to be doing. I am a romantic-type-person, so I absolutley love all the "sweethearts" and "darlings" and (possible spoiler here)"Irene, I'm terribly in love w/ you. I never thought I'd fall in love, but I have, and I'm glad I have, and will you please marry me?" That makes me cry every time. 2 KISSES!!! Many pecks. YEA! The end is sooooooo sad. I absolutley hate seeing Ginger cry-it just about breaks my heart. (don't mind me, I'm obsessed.)Anyway-this is a great movie-SEE IT if you possibly can. I thought it was great.

"The Story of Vernon and Irene Castle" was the last of the major Fred Astaire - Ginger Rogers musicals of the 1930s. And it was different in many ways from the others, namely that the story was more important than the songs and dances. Really, is "Top Hat" with its emphasis on production numbers linked by a thin plot of mistaken identity really a lot different than today's action movies with endless car chases and pyrotechnic special effects linked by a very thin story about a hit man or the earth getting hit by a comet? Sorry about that analogy, I'll take the great musicals over the "actions" any day! "Yo" is not great dialog. My parents tell me that at the time, this film was panned by the critics and did not make it as big at the box office. Could it be that everyone wanted another "Top Hat" or Swing Time?" I enjoyed those lovely musicals with their big production numbers. Could it be the emphasis on Vernon's patriotic service with the RAF in World War I might have offended many people's "isolationism" in 1939 about the growing World War II? Fred and Ginger wanted to do a movie with more substance, and they pulled it off in grand style. The songs and dances were nice, with only one very brief "production number." But they did a great job of showing how two young entertainers met, fell in love, became famous, and made a sacrifice in the war. In 1911, young Irene Castle "discovers" Vernon, a second-rate vaudeville comic when she sees him dancing at an evening outing. She shows Vernon her not ready for prime time dance number "The Yama Yama Men." The two fall in love and marry, and with a lot of self-taught dance technique, suddenly hit the big time in France by dancing their famous "Castle Walk." The Castles' fame grew and grew and they toured Europe and America, and made a lot of money through merchandising things like Irene Castle hats. Long before Michael Jordan's basketball shoes. In fact, you will see entries for both Vernon and Irene here in the Movie Database. Irene went on to star in a few silent films, but never made a "talkie." You'll be glad to know that Irene served as an advisor for the Rogers -Astaire film, enhancing its accuracy. As always, they had some great character actors. I never knew Walter Brennan was ever that young. Fred and Ginger really showed a depth to their acting. From there, of course, Ginger moved into dramatic movies, including her Oscar-winning "Kitty Foyle." I think Fred's later movies matured too. In short, I think you will like this movie, but don't expect to see a clone of "Swing Time."

"Castles in the Air" is the title of Irene's 1958 autobiography but it's also an apt summarization of this robust, poignant tale. Vernon and Irene Castle were far more famous and influential in their day than Fred Astaire or Ginger Rogers were later, though they are less remembered now. This movie pays glorious tribute to the Castles and their dance repertoire which Astaire and Rogers beautifully replicate. The crazy maze of fame that swirled around the young couple, their great love for each other and their private travail, are sensitively presented. The supporting cast includes the always superb Walter Brennan as the Castles' chaperone-servant, and Edna May Oliver as their agent, a take-off on real-life Elisabeth (Bessy) Marbury. Producer Lew Fields, who gave Vernon Castle his first job on the New York stage, makes a cameo appearance. Although Irene Castle served as technical advisor and assisted Walter Plunkett with costuming, there were polite clashes on the set (and off) between her and Ginger Rogers who objected, most notably, to Irene's insistence that she dye her hair dark and cut it short to more accurately resemble her. For those familiar with Irene Castle, whose extraordinary looks (particularly the bobbed hair-style she introduced) were so much a part of her image, they will understand Irene's dissatisfaction with long-tressed, blonde Rogers. It says much for Ginger Rogers' capabilities that the story is not hindered by this departure from authenticity (more glaring then than today). A NOTE ON COSTUMES: This film gives some idea of Irene's popularity as a fashion trendsetter which was tremendous in the 1910s and 20s. In fact, many of the stunning gowns Ginger Rogers wears are quite faithful adaptations of costumes designed by Lucile (Lady Duff-Gordon) for Irene Castle during her Broadway and silent-movie days. Ginger's dress with the handkerchief hem and huge chiffon sleeves (double-banded in fur) was copied from the original which Irene wore for the premiere of Irving Berlin's "Watch Your Step" in 1914. This original, by Lucile, is now at the Costume Institute of the Metropolitan Museum of Art. A black and white evening gown, a pleated silk day dress, and a striped travelling suit are other Lucile designs reproduced by Plunkett for Rogers in this picture.

BEWARE--SPOILER AHEAD--READ AT YOUR OWN RISK This film is one of the most unusual Astaire-Rogers musicals because for once the story is about a real couple, Vernon and Irene Castle--famous dancers in the early part of the 20th century. So we have a musical bio-pic, though in many other ways it's very similar to the rest of the films Astaire and Rogers made together. Once again, there are strong supporting comic players (Edna May Oliver and Walter Brennan) and plenty of ballroom-style and tap dancing. But what truly makes this different is that the film is forced to stick to the main facts about the people they are portraying, so there is no fairy tale happy ending, since Vernon was killed towards the end of WWI. Those who want the happy ending and demand the Astaire-Rogers formula remain intact will be disappointed, but I was actually pretty impressed that the story DIDN'T include some sort of sappy ending or ended on a cliché. While not a great film, the acting, dancing, direction and writing were just fine and I do respect the fact that it is not just the "same old story".

This was the last movie Fred Astaire and Ginger Rogers made together in the 1930's and they would only make one more in 1949. This is easily one of the lessor efforts and it's easy to see why they only made one more after this one. For a musical there are hardly any song and dance numbers compared to their other films and there isn't too much comedy in here compared to other films like Carefree. The movie starts out in 1911 with Astaire playing a low ranking comedian who in the skits basically gets beat up. Astaire meets Rogers and Walter Brennan is her servant and they wind up getting married. They try to get hired as dancing partners but no one will take them until Edna May Oliver gets them a spot at a top restaurant. Then World War I starts and it's hard to see Fred Astaire was a war hero but this movie has him as one. This isn't one of their best and you should watch one of their other ones first.

There is one hilarious goof in this delightful film. When Irene and Vernon are having dinner in the Parisian restaurant in which they are to make their debut Irene is wearing her wedding dress as they are too broke to afford to buy her a new evening dress, She is also wearing a little lacy winged hat of the type worn in the national costume of Holland. In England there were gales of laughter when Irene says "I feel just like a bride again in my wedding dress and my little Dutch cap." In the UK a Dutch cap is a female contraceptive device which I believe is called a "diaphragm" in USA.

The great irony here is that today, if the professional dancing team of Vernon and Irene Castle is remembered at all, it is because Fred Astaire and Ginger Rogers played them in a movie. Plus,many people don't like "The Story of Vernon and Irene Castle", and just find it lacking something. This is probably because there is virtually no romantic conflict between the two in this film. Astaire & Rogers spend practically the entire film either allied or happily married. Because the two are happily married in the film, you're missing all of the fun of the misunderstandings, squabbling, and sexual tension of their other RKO starring vehicles. The conflict is first economic and professional as the pair struggled to get recognized as great dancers, and then there is World War I in which Vernon Castle, as an English native, feels compelled to enlist. The film is quite good, but it is very sentimental and atypical of Astaire & Rogers' other films. This was intended to be the pair's last film together, and was their last film together at RKO. It was just a series of accidental recasting decisions that led them to reunite in "The Barkleys of Broadway" at MGM ten years later, which was a big splash musical in the big splashy MGM tradition, quite different from their earlier films together.