Top 10 Iconic Vera-Ellen Dance Scenes
#10: “A Day in New York” “On the Town” (1949)
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Set against a deliberately stylized and artificial New York City skyline, our attention is firmly on The two dazzling stars at the heart of this Golden Age musical. “A Day in New York” features Gene Kelly and Vera-Ellen recapping their characters’ whirlwind romance through the language of dance. With colorful costumes to add visual pop to the steps and Leonard Bernstein’s jaunty score, it’s impossible to take your eyes off this pair. The energetic, sprightly choreography has an effervescent quality to it, made even more so by the effortless joy projected by Kelly and Vera-Ellen. Alas, Ivy’s Cinderella moment sends her dashing away too soon. We’re just as disappointed as Gabey when the number comes to its abrupt finish.
#9: “Come On Papa” “Three Little Words” (1950)
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Vera-Ellen, as the saying goes, had "legs for days." Those legs certainly get a workout here with "Come On Papa," a selection from the 1950 film "Three Little Words." "Come On Papa" actually dates back to World War I, and the musical number captures the subject matter about a French woman who just loves cruising around to pick up handsome American men. The choreography features a bit of classic can-can action to get things warmed up. It’s the partnering work that really steals the show though. Vera-Ellen dances with, over, around, and her bevy of adoring sailors with panache. The high-energy, flirtatious ditty keeps upping the ante until the icon brings it home literally on top.
#8: “Mr. and Mrs. Hoofer at Home” “Three Little Words” (1950)
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We're sticking with "Three Little Words" for our next entry, the charming and quaint number titled "Mr. and Mrs. Hoofer at Home." The sequence is a pantomime of everyday housework for a husband and wife, albeit a pair who happened to be dressed to the absolute nines. Vera-Ellen wastes no time right from the jump, leaping out of her chair with an energy that's amazingly infectious. You can't help but smile as Fred Astaire joins in, and the pair dance away with an ease that seems effortless. The pair mimic a little romance, a little playful fighting and even some dinner time shenanigans before literally crashing through the fourth wall!
#7: “Oops” “The Belle of New York” (1952)
Do you remember what it felt like when you fell in love for the first time? That sensation of being able to do anything, like you were walking on air? Well, "The Belle of New York" takes that sentiment and runs with it, with characters who ascend and perform some seriously heavenly dance moves. "Oops" keeps its feet on the ground, however, as Fred Astaire's noted cad Charles is attempting to woo Vera-Ellen's Angela on a horse drawn streetcar. This isn't to imply that the number isn't totally awesome, however, as the pair seem to be totally in sync with each other as they move through their duet. They even use the streetcar prop to assist in their moves!
#6: “Thinking of You” “Three Little Words” (1950)
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We're back to "Three Little Words" again for our next pick, with a song that starts off with a slow, smoldering melody, and a little bit of cheek-to-cheek. Eventually, the song picks up steam, as Fred Astaire and Vera-Ellen spin, twirl and move together like a well oiled dancing machine. There's a serious level of romance associated with the song, and the pair's performance, with "Thinking of You" moving into rumba territory for its final third. Then, as if nothing happened, the song is over, and Astaire and Ellen return to the piano. It's classy, graceful stuff.
#5: “Abraham” “White Christmas” (1954)
Even if you're never heard of Vera-Ellen, we're pretty willing to bet that you're familiar with "White Christmas.” It's certainly the best known Vera-Ellen performance, but also one of her strongest, as evidenced by this musical number, "Abraham." Right out the gate, this number is bold and powerful. Ellen looks absolutely gorgeous in a super short yellow skirt and matching top, as she smokes the floor with her tap dancing alongside partner John Brascia. "Abraham" isn't the longest or most complex number, but this instrumental is nevertheless one of the film's highlights. It's fast, frenetic, and fun, and Vera-Ellen leads the whole way, capturing our attention from first step to last.
#4: “Miss Turnstiles' Ballet” “On the Town” (1949)
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A plain yellow background is all we get for skyline scenery for this sequence from "On the Town," but it doesn't really matter, because all eyes are gonna be on Miss Vera-Ellen. As Gene Kelly’s Gabey fantasizes about the glamorous Miss Turnstiles, the dancer interacts with some of the props in the foreground, as well as some of the ensemble cast, utilizing costume and scene changes to keep things interesting. One particular highlight has to be the point where Vera-Elen is dancing in front of a painter's easel, and she wows us with some incredible ballet moves. The level of strength and control she possessed in order to pull off such a scene still leaves us speechless.
#3: “The Best Things Happen While You're Dancing” “White Christmas” (1954)
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Glamourous, old school Hollywood romance. That's the name of the game with our next pick, "The Best Things Happen While You're Dancing." This musical number is taken from "White Christmas," and doesn't really pack any major dance pyrotechnics, but instead fills us with nostalgia for these sorts of earnest, innocent movie musicals. The number pushes forward the love story between the characters of Danny Kaye and Vera-Ellen, as the pair move from traditional ballroom dancing into some upbeat hoofing for the final third. There's a little swing, a little cha-cha and a whole lot of "They just don't make 'em like this anymore."
#2: “Slaughter on Tenth Avenue” “Words and Music” (1948)
"Slaughter on Tenth Avenue" may have been composed prior to being adapted for the 1948 film "Words and Music," but it's Gene Kelly and Vera-Ellen who may have given the song its definitive performance. There's a pouty sultriness to Vera-Ellen's performance as a doomed dance hall girl caught between two men. Meanwhile, Kelly's an equal part of the equation, as the pair does this push-and-pull that works perfectly against the upbeat instrumental sections of the score. The costumes and sets are perfect, while the finale is a two-fisted tour-de-force that features love, tragedy, vengeance and death. It's a whirlwind of thrilling emotions, and a true cinematic sight to behold. Before we name our number one pick, here are some honorable mentions! “Baby Doll," "The Belle of New York” (1952) An Energetic Dance with Tons of Twirls “Main Street,” “On the Town” (1949) A True Tap Dancing Showcase “A Bride's Wedding Day Song (Currier and Ives),” “The Belle of New York” (1952) The Best of Ballroom and Tap in One Perfect Partnership
#1: “Mandy” “White Christmas” (1954)
This is it: perhaps Vera-Ellen's finest cinematic hour as a dancer, and a visual showcase for her beauty, class and grace. From the moment she arises into frame accompanied by the chants of the chorus, Vera-Ellen is a true vision of Old School Hollywood. The icon's beautiful white outfit is paired perfectly with the bright red of the set dressing and the greens of the backing dancers, and she sashays and spins her way through the number like a true queen. Speaking of those dancers, they do a great job at carrying and lifting Vera-Ellen around the set, while her own fancy footwork just solidifies what we already knew: Vera-Ellen was a legend.
