Description

Royal Wedding is a 1951 Metro-Goldwyn-Mayer Musical film comedy film starring Fred Astaire and Jane Powell, with music by Burton Lane and lyrics by Alan Jay Lerner. The film was directed by Stanley Donen; it was his second film and the first he directed on his own. It was released as Wedding Bells in the United Kingdom.

The story is set in London in 1947 at the time of the wedding of Princess Elizabeth and Philip Mountbatten, Duke of Edinburgh. Astaire and Powell are siblings in a musical ensemble and dance ensemble duo, echoing the real-life theatrical relationship of Fred and Adele Astaire.

Royal Wedding is one of several MGM musicals that List of films in the public domain in the United States on their 29th anniversary due to failure to renew the copyright registration.

Cast

• Fred Astaire as Tom Bowen
• Jane Powell as Ellen Bowen
• Sarah Churchill (actress) as Anne Ashmond
• Peter Lawford as Lord John Brindale
• Keenan Wynn as Irving Klinger/Edgar Klinger
• Albert Sharpe as James Ashmond

Notable songs and dance routines

• “Ev’ry Night At Seven”: Astaire pretends to be a bored king alongside a lively Powell.
• “Sunday Jumps”: Astaire credits the idea for this solo to his long-time choreographic collaborator Hermes Pan (choreographer). In it, Astaire parodies himself by dancing with a hatstand and appears to parody his rival and friend Gene Kelly by inserting a mock bodybuilding episode during which he kicks aside some Indian clubs in a erence to Kelly’s “Be A Clown” routine with Nicholas Brothers in The Pirate. The fame of the dance rests on Astaire’s ability to animate the inanimate. The solo takes place in a ship’s gym, where Astaire is waiting to rehearse with his partner Powell, who doesn’t turn up, echoing Adele Astaire’s attitude toward her brother’s obsessive rehearsal habits to which the lyrics (unused and unpublished) also made erence. In 1997, Astaire’s widow Robyn authorized Dirt Devil to use a digitally altered version of the scene where Astaire dances with a hatstand in a commercial; Astaire’s daughter Ava objected publicly to the commercial, implying they had “tarnish[ed] his image” and saying it was “the antithesis of everything my lovely, gentle father represented”< name=vacuum />
• “Open Your Eyes”: This waltz is sung by Powell at the beginning of a romantic routine danced by Powell and Astaire in front of an audience in the ballroom of a transatlantic liner. Soon, a storm rocks the ship and the duet is transformed into a comic routine with the dancers sliding about to the ship’s motions. This number is based on a real-life incident which happened to Fred and Adele Astaire as they traveled by ship to London in 1923.
• “The Happiest Days of My Life”: Powell’s character sings this ballad to Lawford’s, with Astaire sitting at the piano.
• “How Could You Believe Me When I Said I Love You When You Know I’ve Been a Liar All My Life” has what is considered the longest title of any song in MGM musical history. For the first time in his career, Astaire casts aside all pretension to elegance and indulges in a comic song and dance vaudeville-style with Powell. The routine recalls the “A Couple Of Swells” number with Judy Garland in Easter Parade (1948 film). Here, for the second time in the film, he seems to parody Gene Kelly by wearing the latter’s trademark straw boater and employing the stomps and splayed strides that originated with George M. Cohan and were much favored in Kelly’s choreography.
• “Too Late Now”: Powell sings her third ballad, this time an open declaration of love, to Lawford.
• “You’re All the World to Me”: In one of his best-known solos, Astaire dances on the walls and ceilings of his room because he has fallen in love with a beautiful woman who also loves to dance. The idea occurred to Astaire years before and was first mentioned by him in the MGM publicity publication Lion’s Roar in 1945.
• “I Left My Hat in Haiti”: This number, essentially the work of Nick Castle, involves Powell, Astaire, and chorus in a song and dance routine with a Latin theme.