Cyd Charisse
Charisse was born as Tula Ellice Finklea in Amarillo, Texas, the daughter of Lela (née Norwood) and Ernest Enos Finklea, Sr., who was a jeweler. Her nickname “Sid” was taken from a sibling trying to say “Sis”. (It was later spelled “Cyd” at MGM to give her an air of mystery.) She was a sickly girl who started dancing lessons to build up her strength after a bout with polio. At 14 she auditioned for and studied ballet in Los Angeles with Adolph Bolm and Bronislawa Nijinska, and subsequently danced in the Ballet Russes as “Celia Siderova” and, later, “Maria Istromena”.
At one point during a European tour, she met up again with Nico Charisse, a handsome young dancer she had studied with for a time in Los Angeles. They married in Paris in 1939. They had a son, Nicky, born in 1942.
The outbreak of World War II led to the break-up of the company, and when Charisse returned to Los Angeles, David Lichine offered her a dancing role in Gregory Ratoff’s Something to Shout About. This brought her to the attention of choreographer Robert Alton — who had also discovered Gene Kelly — and soon she joined the Freed Unit at MGM, where she became the resident MGM ballet dancer.
Charisse is now principally celebrated for her on-screen pairings with Fred Astaire and Gene Kelly. She first appeared with Astaire in a brief routine in Ziegfeld Follies (produced in 1944 and released in 1946). Her next appearance with him was as lead female role in The Band Wagon (1953), where she danced with Astaire in the acclaimed “Dancing in the Dark” and “Girl Hunt Ballet” routines. Another early role cast her opposite Judy Garland in the 1946 film The Harvey Girls.
In 1957, she rejoined Astaire in the film version of Silk Stockings, a musical remake of 1939’s Ninotchka, with Charisse taking over Greta Garbo’s role. In his autobiography, Astaire paid tribute to Charisse, writing: “That Cyd! When you’ve danced with her you stay danced with.”
As Debbie Reynolds was not a trained dancer, Gene Kelly chose Charisse to partner him in the celebrated “Broadway Melody” ballet finale from Singin’ in the Rain (1952), and she co-starred with Kelly in 1954’s Scottish-themed musical film Brigadoon. She again took the lead female role alongside Kelly in his penultimate MGM musical It’s Always Fair Weather (1956).
In her autobiography, Charisse reflected on her experience with Astaire and Kelly: “As one of the handful of girls who worked with both of those dance geniuses, I think I can give an honest comparison. In my opinion, Kelly is the more inventive choreographer of the two. Astaire, with Hermes Pan’s help, creates fabulous numbers — for himself and his partner. But Kelly can create an entire number for somebody else … I think, however, that Astaire’s coordination is better than Kelly’s … his sense of rhythm is uncanny. Kelly, on the other hand, is the stronger of the two. When he lifts you, he lifts you! … To sum it up, I’d say they were the two greatest dancing personalities who were ever on screen. But it’s like comparing apples and oranges. They’re both delicious.”
After the decline of the Hollywood musical in the late 1950s, Charisse retired from dancing but continued to appear in film and TV productions from the 1960s through the 1990s. She made cameo appearances in Blue Mercedes’s “I Want To Be Your Property” (1987) and Janet Jackson’s “Alright” (1990) music videos.