Papa longues jambes

Most would probably cast their votes for THE BANDWAGON, EASTER PARADE, or any number of other Ginger Rogers-Fred Astaire team-up's as the most stellar of Fred Astaire's efforts. Yet DADDY LONG LEGS is perhaps the most beguiling of the Astaire musicals and quite possibly captures the purest romantic sensibility of them all. However, few admirers of the legendary dancer ever seem to cite this wonderful motion picture as being among the most shimmering of the Astaire nuggets--and it remains a mystery why that is so.

Directed by Jean Negulesco, the film is the Cinderella story of a wealthy New York playboy, Jervis Pendleton (Astaire), who stumbles upon a beautiful young orphaned girl, Julie Andre, (Leslie Caron) while on a trip to France. He decides to bring her to America and sponsor her college education while keeping his identify unknown. From the beginning, Caron idealizes the benefactor she never sees and identifies him as her "Daddy Long Legs." Writing hundreds of letters to him in an attempt to establish a relationship, she receives only the depersonalized anonymity of continuing financial aid. Eventually, the two do come face to face at a college prom through Astaire's niece, Linda (Terry Moore), who is a classmate of Caron. But Caron still has no idea that Astaire and "Daddy Long Legs" are one in the same. Of course, Astaire falls for Caron after the couple spend a whirlwind night on the town, but then severs all connection to her after Ambassador Williamson (Larry Keating)lectures him on the public scandal of his being a Sugar Daddy.

The musical numbers, choreographed by Astaire, are fresh, colorful, and romantically vibrant. The dance ballet inspired by the music of "Dream" --in which Caron fantasizes over the identify of her "Daddy Long Legs"-- shifts through a series of tempo, costume, and musical changes and is inescapably reminiscent of the Gene Kelly-Leslie Caron 20 minute masterpiece in AN American IN Paris. In the night on the town number, after meeting at Linda's college prom, they swing through Johnny Mercer's Acadamy Award nominated SOMETHIN'S GOTTA GIVE. It is the turning point when the two realize they are falling in love, though Caron is still not aware that Astaire is her benefactor. Not to be missed is Astaire's performance of "Slew Foot" with Caron at the prom where Jervis Pendleton shows the younger set a thing or two about what a man over 50 can do on a dance floor. It's one of the most entertaining sequences in the film and contains some very funny moments.

The veteran supporting cast works wonderfully well: Terry Moore as Pendleton's niece, Fred Clarke as Griggs, Pendleton's assistant, and Larry Keating as Ambassador Williamson. But it is the sympathetic Thelma Ritter who shines as Pendleton's secretary Alicia. She is the one who has been reading and filing all the Julie Andre letters for years until she takes it upon herself to be the only friend at Caron's graduation and instigates the pivotal meeting between Pendleton and Andre at Astaire's Park Avenue office. It is there that Pendleton's identity is unmasked and Andre discovers that Astaire is, after all, her "Daddy Long Legs."

DADDY LONG LEGS may not usually be thought of as reigning near the top of Fred Astaire's films, but it surely must be included among his best musicals. The Phoebe Ephron script of a May-September romance is fresh and colorful; the musical numbers are beautifully and artfully choreographed; and the 1950's Technicolor cinematography memorably filmed.

Trivia: Fred Astire was 56 years old when he made the film; Caron was 24...DADDY LONG LEGS was not one of Astaire's MGM musicals; it was released by 20th CENTURY FOX...Both Fred Clarke and Larry Keating played Harry Morton, next door neighbor to George Burns and Gracie Allen on the BURNS AND ALLEN show of the 1950's. Clarke came first beginning in 1951, then in 1953, George Burns actually announced the cast change in the middle of an episode as Clarke exited and Keating stepped in and took his place!...Leslie Caron never wanted to be in movies, but when Gene Kelley offered her a part in the MGM legendary musical AN American IN Paris in 1950, she gave in to her mother's demands and flew to Hollywood...Johnny Mercer was nominated in 1955 for best original song for SOMETHIN'S GOTTA GIVE. However, the winner that year proved to be LOVE IS A MANY SPLENDORED THING...Mitzi Gaynor was the studio's choice for the Julie Andre role, but Astaire held out for Leslie Caron--probably after being dazzled by her performance in AN American In Paris with Gene Kelly, which won the Oscar for Best Picture of the Year, 1951...It was during the filming of DADDY LONG LEGS that Fred Astaire's wife died. At various times he retreated to his trailer emotionally overcome. Some have said that in certain scenes Astaire to have "red eyes."...

Dennis Caracciolo

I think this film, "Daddy Long Legs", is much better than its Imdb rating indicates. I rate it "8" of 10. Fred Astaire was 56 and Leslie Caron 24 when this film came out, so it stretches the age thing a bit, but I suppose we can write that off as cultural differences among the French.

Simple story, executed very well. I didn't read the book, nor do I think it is relevant. This is a movie and it should be appreciated on its own merits. It is well-established that the author of this screenplay changed the story quite a bit, for purposes of this Hollywood production, so comparing it to the book is moot.

Wealthy American (Astaire/Jervis) is on an economic mission to France when their vehicle gets stuck in a ditch. He wanders upon a French orphanage, looking for a phone or ride, and spots the 18-yr-old orphan (Caron/Julie), so lively, bright, responsible, attending to the younger orphans. He becomes an anonymous sponsor and sends her to a college in Mass. The only stipulation is that she write a letter weekly to "Mr Jones" to keep him informed of her progress.

The letters never get to Jervis, intercepted and filed by his staff. Until over two years later, when he had forgotten about her, but her letters are called to his attention. Finds out his niece is one of her roommates, he goes to a college dance to visit his neice, but really to see Julie. They meet, hit it off despite their age difference, dance marvelously. Later Julie visits NYC alone, ambassador to France is on next patio, at breakfast overhears what he thinks is hanky-panky, persuades Jervis to quit seeing Julie.

Julie eventually graduates, is lonely because she has never met "Daddy Long Legs", and has no place to go to after graduation. She insists on meeting her benefactor, who lives in a mansion, sort of museum, that even gives art tours to the public. There she realizes Jervis is in fact her benefactor, he proposes, she accepts.

First, the story is very plausible. A rich man seeing a talented person and wanting to help out anonymously. So I naturally find the story compelling. Second, Astaire and Caron were two of the best dancers, and also very good actors, that ever lived. "Dream scenes" were concocted to showcase each alone, and both together, in production dance numbers. For its genre, it is an almost perfect film. It gets its name from the small orphans telling Julie they saw him, not distinctly, at night and his shadow cast on the orphanage's wall made him look like he had very long legs.

Fred Astaire, that supremely talented perfectionist, had a graceful and utterly charming partner in Leslie Caron in this oft-told fairy tale, so handsomely mounted by Twentieth Century Fox. It's an artifact of its era, with elements such as Ray Anthony's dance band for the prom scene; New York before it became overwhelmingly crass and vulgar; scenes set in a studio version of France when it was still permissible to admit a liking for things Gallic (which is now tantamount to treason - How absurd!); Terry Moore before she began claiming that she'd been secretly married to Howard Hughes; and Thelma Ritter allowed once more to almost steal the whole show with her slightly cynical brand of warmth. Sure there are things to object to: Larry Keating's merciless depiction of a pompous old fogey, eager to deflect Cupid's arrows; the somewhat overblown dream sequence (which did not benefit from Fred Astaire's ability to make a production number flow so matchlessly, as in the "Sluefoot" dance with Fred and Leslie, in which she's allowed to outshine all of her American schoolmates); and a score with only a couple of memorable numbers (i.e., "Dream" and the unforgettable "Somethin's Gotta Give!")

But overall you have to be more than demanding to find this anything but a delightful way to forget the world's harsher realities. The VHS version, with a DVD version probably not on the immediate horizon, no doubt does not duplicate Leon Shamroy's elegant CinemaScope framing. So be forewarned - this was made at a time when the hierarchy at Twentieth virtually commanded that all A-list productions take full advantage of the widescreen ratio and if that's lost, then you won't be seeing anything like what we saw in theaters during the theatrical release of this charmer.

'Daddy Long-Legs', previously filmed silent with Mary Pickford and once more in the 1930s, gets the musical treatment here as the story of the millionaire and the orphan he sponsors gets a Technicolor, Cinemascope, Johnny Mercer update.

Fred Astaire, at 55, is a little old for his role as stick-in-the-mud business whizz Jervis Pendleton, but hey, this is Hollywood. And his interest in, and subsequent wooing of, the French girl Julie Andre (played with charm and wit by Leslie Caron) is helped a lot by the fact that the two stars do not actually share screen time until nearly halfway through the film! With scintillating choreography for both Astaire and Caron, those wonderful songs, and support from Fred Clark, Thelma Ritter, and Terry Moore, 'Daddy Long Legs' is an excellent musical just balancing on the cusp of classic musical vs rock n roll.

How terribly sad that during such a delightful and romantic film, Fred Astaire was mourning the death of his wife.

"Daddy Long Legs" is a sweet film with an utterly charming performance, in words and dance, by Leslie Caron, and Astaire's usual high-class, debonair, energetic work.

Thelma Ritter and Larry Keating give fantastic support, and in looking over the cast list, I see that a future dance partner of Astaire's, the wonderful Barrie Chase, is an uncredited dancer.

My only complaint is that the movie is on the long side, with the final dance being not only terribly long, but just one dance sequence too many.

The highlight of the film for me was definitely "Sluefoot." A fantastic number! I noticed one hilarious comment about an "uncredited appearance by Cary Grant." I remember my mom telling me how much Ray Anthony resembled Grant - I guess she was right!