Top 10 Moments We Found Out a Classic Actor Was a Great Singer

“The Gay Divorcee” (1934)
You don’t get a dance studio named after you if you don’t know how to move, but even today, Fred Astaire’s singing is vastly underrated. Though Astaire cut his teeth in vaudeville, there was some skepticism about his ability to carry a film. His early movies showcased his dancing ability, and generally next to a more famous actress. In “The Gay Divorcee,” Astaire was able to show off his polished voice next to Ginger Rogers, who would become his longtime partner. Compared to his dancing, his singing and musical ability have been downplayed. But without the voice, Astaire’s outings as a leading man wouldn’t have been nearly as successful.

“Babes in Arms” (1939)
Although he came from a musical family, Mickey Rooney didn’t have much of a chance to show off his singing chops in his early Hollywood career. It wasn’t until he became a contract star at MGM in the 1930s that he made his first foray into movie musicals. Though 1939’s “Babes in Arms” was not Rooney’s first time singing professionally, it was one of his more demanding earlier roles. The Rodgers and Hart adaptation paired him with Judy Garland, whose voice could blow the roof off the studio. Rooney was able to keep pace with her and the duo sang and danced in ten films together.

“Gentlemen Prefer Blondes” (1953)
The blonde bombshell wasn’t the studio’s first choice for Lorelei Lee, the wealth-obsessed showgirl played on Broadway by the singular Carol Channing. Marilyn Monroe turned out to be a stunner in the role. Although her vocal range was limited, the studio allowed her to do her own singing for the most part. Only a few notes in the movie’s signature number, “Diamonds Are a Girl’s Best Friend,” were dubbed by ghost singer Marni Nixon. The rest is the pure cooing of one of classic Hollywood’s most iconic stars. Monroe’s soft, seductive singing voice became a signature part of her repertoire.

“For Me and My Gal” (1942)
For a lesser performer, being paired with Judy Garland for your first movie would seem like sabotage. Few people in 1942 had any idea what to expect from MGM’s new male lead. After all, Gene Kelly had done great work on Broadway, but even that was mostly as a dancer and choreographer. In “For Me and My Gal,” Kelly more than held his own. He won over his co-star and audiences with his velvety-smooth tenor and renowned dancing skills. Though his contributions to dance are more celebrated, his skills as a vocalist can’t be ignored.

“Mame” (1966)
Looking back, it’s kind of amazing that Angela Lansbury became one of musical theater’s leading ladies. Her distinctive voice was apparently not appreciated by her home studio, MGM. Her voice was dubbed over in the 1946 film “The Harvey Girls.” After over a decade of working in Hollywood, London-born Angela Lansbury began making more frequent appearances on stage. Though not her first musical, Lansbury’s success in the Broadway adaptation of the novel “Auntie Mame” opened up an entirely new career path for her. For powering through the show’s songs of happiness and cheeky joie de vivre, Lansbury was awarded the Tony Award for Best Leading Actress in a Musical.

“Sweet Charity” (1969)
Filling in for the titular role’s stage star Gwen Verdon, Shirley MacLaine’s dancing talent was put to good use in the big screen version of “Sweet Charity.” In the role of taxi dancer Charity Valentine, she could also showcase her vocal ability. Considering the actress basically got her start singing and dancing in Broadway’s “The Pajama Game,” it’s a wonder it took Hollywood so long to catch on. While she had demonstrated time and again her talent for dance, her singing voice was used mostly to comic effect in movies like “Can-Can” and “Some Came Running.” When audiences finally got to hear her in full voice, it was a pleasant surprise.

“Funny Face” (1957)
“My Fair Lady” is a classic movie musical, but most audiences know Audrey Hepburn wasn’t doing a lot of her own singing. Aside from a moment in 1954’s “Sabrina,” Audrey Hepburn was given few opportunities to sing on screen. While her fire escape rendition of “Moon River” in “Breakfast at Tiffany’s” is a defining moment of her career, the first time audiences were really treated to her singing in a musical was in the 1957 film “Funny Face.” Hepburn stars as a timid bookseller discovered by a fashion photographer, played by Fred Astaire. She sings her own songs, and while she’s not a powerhouse vocalist, her sweet voice matches her charm.

“West Side Story” (1961)
Like many Golden Age performers, Rita Moreno’s early performances in musicals were dubbed by other singers. This continued up until 1961, when she appeared to great acclaim in “West Side Story.” In her Oscar-winning role as Anita, she was able to showcase her great humor and beauty, but also prove she could hold her own during the notoriously difficult show. Like most of the cast, Moreno was dubbed in several songs. However, she was given free rein to own what is arguably Anita’s standout number, “America.” Her sultry and clever performance is a big reason why “West Side Story” became such an iconic production.

“Gold Diggers of 1933” (1933)
Audiences already knew she could crack wise with the best of them. However, it wouldn’t be until “Gold Diggers of 1933” that Ginger Rogers really got the chance to anchor her own number on screen. Though she was discovered on Broadway, Rogers was mostly cast in a number of dramas and non-musical comedies for the first three years of her Hollywood career. The Depression Era number “We’re in the Money” — which was sung partially in Pig Latin — gave her an almost uninterrupted solo. The song and movie at large launched her as a reliable musical star.

“Yankee Doodle Dandy” (1942)
Despite getting his start in vaudeville variety shows, James Cagney suffered from the same affliction many actors have suffered: typecasting. After stellar performances in crime films like “The Public Enemy” and “Angels with Dirty Faces,” the general audiences probably wouldn’t have pegged him as a musical comedy guy. But in “Yankee Doodle Dandy,” he played George M. Cohan, the ultimate song and dance man. Cagney’s isn’t a modern voice, and he talk-sings most of the numbers. However, his classic sound is full of enough charm, humor, and genuine feeling to make up for a lack of polish — and earn him an Academy Award for his efforts.