On display in the Rick Nicita Gallery in the Center for Film Studies is a series of posters entitled “Astaire: Posters from the Collection.” Spanning 11 of Astaire’s starring roles, from “Follow the Fleet” (1936) to “The Band Wagon” (1953), the collection, accompanied by an essay written by President Michael Roth, showcases both Astaire’s classic style of movement and the manner in which his work was advertised. The exhibit will run until Dec. 8.
In his introductory essay, “Fred Astaire: A Swinging State of Grace,” Roth recounts the process by which he was acquainted with Astaire’s work, as a student in Paris in the 1980s. Although he was in pursuit of “French cultural history” and “intellectual sophistication,” Roth developed an appreciation for Astaire’s ability “to make the music his story and his body.”
Through the framed set of posters, which cover three walls of the gallery—painted blue and lit with a steady, unassuming set of track lights—it is clear that Roth’s perception of Astaire as upholding “a state of being in step with the world and one’s partner every time he taps his feet” is portrayed consistently.
The collection commences with a poster promoting “Carefree” (1938), which starred Astaire and Ginger Rogers (“together again!”). They are depicted as moving in tandem with active left feet and arms at wide angles, faces animated, and Rogers’ yellow dress evaporating into the orange glow and yellow edging at the base of the poster. Astaire is positioned slightly to one side as if presenting Rogers, who is framed at the center of the poster.
Other posters display Astaire co-starring with the likes of Judy Garland, Vera-Ellen, Cyd Charisse ,and Rita Hayworth. Over the 20-year span that the posters cover, Astaire ages gracefully; in one early print stands in his typical position with one foot anchored, holding his comely female costar by the waist; in later years, he often wears a top hat.
In the 1945 advertisement for “Yolanda and the Thief,” Astaire and Lucille Bremmer move with one set of legs parallel and the other set crossing, her eyes fixed and heavy, her yellow dress cut high on the leg. Sketches of skulking men, scantily clad and moderately surprised-looking women and a couple embracing outline the bottom edge of the poster, imbuing it with both a light-hearted and mildly sinister appeal. As with many of the Astaire posters, this one portrays both his clear, exceptional charm and cheeky, clever, almost secretive energy, along with the cool, collected effervescence which prompts Roth to believe that he “can revisit the hope for a state of grace.”
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