(1955)
3
Craig Butler
The fact that Fred Astaire was often considerably older than his partners can be problematic, and is especially so in Daddy Long Legs. More than 30 years the senior of co-star Leslie Caron, this might not have been important if the story had not centered around a very young college girl and her much older guardian and the romance that eventually blooms between them. While the filmmakers go out of the way to bowdlerize the situation, there's still something uncomfortable about the whole set-up; it verges on the unsavory, even with someone as respectable as Astaire. That aside, the screenplay itself is acceptable -- not exceptional, but the structure is fine and there are a number of good lines. It's not musicalized as well as it might have been; as far as songs go, there's really only one "book" number (although that one is the marvelous "Something's Gotta Give"). The first dream ballet, in which Caron wonders about her mysterious guardian angel, is well danced by Astaire (and features the unforgettable sight of Fred in cowboy boots and cowboy hat), but doesn't add up to much. The second ballet, in which Caron imagines herself seeking Astaire in three different settings, including Rio at Carnavale time, is much better (and sports some very eye-catching sets and costumes). And the "Sluefoot" number is very well staged. Individually, the two stars are both winning and appealing, but together they don't set off sparks romantically or even as dancers (their styles don't quite mesh). Thelma Ritter is quite good in a part which draws a bit more on her sensitive side and less on her wisecracking persona. This would be Astaire's only musical for Fox.
awards for Daddy Long Legs on AllMovie
Daddy Long Legs (1955)
Academy of Motion Picture Arts and Sciences
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Nominated |
Best Color Art Direction
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1955 |
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Nominated |
Best Musical Score
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1955 |
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Nominated |
Best Song
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1955 |
