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  1. Fred Astaire (May 10, 1899 – June 22, 1987) and Ginger Rogers (July 16, 1911 – April 25, 1995) were dance partners in a total of 10 films, nine of them released by RKO Radio Pictures from 1933 to 1939, and one, The Barkleys of Broadway, by Metro-Goldwyn-Mayer in 1949, their only film in Technicolor.

  2. 4 de abr. de 2000 · Ginger & Fred at RKO by Ginger Rogers released in 2000. Find album reviews, track lists, credits, awards and more at AllMusic.

  3. 20 de nov. de 2001 · Fred and Ginger at RKO by Fred Astaire, Ginger Rogers released in 2001. Find album reviews, track lists, credits, awards and more at AllMusic.

  4. View credits, reviews, tracks and shop for the 1999 CD release of "The Sound Of The Movies - Ginger & Fred At RKO" on Discogs.

    • (1)
    • Germany
    • 13
    • 2 x CD, Album, Remastered
    • Flying Down to Rio. Dirección: Thornton Freeland. Guión: Erwin S. Gelsey, H.W. Hanemann, Cyril Hume. Producción: Merian C. Cooper, Lou Brock. Compañía productora: RKO.
    • The Gay Divorcee. Dirección: Mark Sandrich. Guión: George Marion Jr., Dorothy Yost, Edward Kaufman. Producción: Pandro S. Berman. Compañía productora: RKO. Basada en: el musical Gay Divorce (1932) de Dwight Taylor.
    • Roberta. Dirección: William A. Seiter. Guión: Jane Murfin, Sam Mintz, Allan Scott. Producción: Pandro S. Berman. Compañía productora: RKO. Basada en: el musical Roberta (1933) de Jerome Kern y Otto Harbach y la novela Gowns by Roberta (1933) de Alice Duer Miller.
    • Top Hat. Dirección: Mark Sandrich. Guión: Allan Scott, Dwight Taylor. Producción: Pandro S. Berman. Compañía productora: RKO. Basada en: la obra A Scandal in Budapest (1911) de Alexander Faragó and Aladar Laszlo.
  5. 17 de feb. de 1998 · Fred Astaire & Ginger Rogers at RKO by Fred Astaire, Ginger Rogers released in 1998. Find album reviews, track lists, credits, awards and more at A...

  6. 3 de may. de 2016 · Over the six years she worked with Astaire, Ginger had cemented her stardom and vastly improved her dancing skills, but at a price: Fred was, in truth, a somewhat distant, exacting perfectionist who felt cutting and fancy camera angles distracted from the audience’s focus on the dance itself.