Daddy Langbein

Leslie Caron elevates this film with her charm, her pleasant French accent and innocence. The movie also is bright and colorful and features a lot of dance with The Master: Fred Astaire. For me, the bad side was it wasn't the kind of dancing from Astaire that I always liked: tap. For those who prefer the '50s dance style, this movie will be super.

Caron also does a few ballet numbers. She plays an 18-year-old which was a little unrealistic because she doesn't look that young, although I think she was only around 24. Astaire, even though he was in his mid '50s, the same year as the movie, was still agile and very talented.

The dialog is very dated, especially with the college girls of the day. Even though I don't own it, I am glad to see this is out on DVD. The formatted-to-TV VHS picture cuts off a lot of the colorful dance scenery, so the disc is a "must" over the tape.

Having been discovered a few years previously, by that multitalented dance icon: Gene Kelly, cute, pixie-like Leslie Caron here gets to costar with MGM's other dance icon: Fred Astaire., although actually Fox sponsored the film. Of course, both stars being known firstly for their dancing, this, as opposed to merely singing, is emphasized. However, notable Johnny Mercer, who composed all the music, save for one number by Ray Anthony, managed to include several classic lyrical songs, in "Dream", and "Something's Gotta Give". .........As most reviewers have mentioned, and some bitterly complain, Fred and Leslie make an odd-looking romantic couple, he being 30 years her senior, and 35 years older than her scripted age of 18, at the beginning. Thus, on the surface, it looks like an incestuous relationship, in the sense that he is old enough to be her father, and perhaps even her grandfather. But, perhaps their characters don't look at it that way. It would hardly be the first such relationship in history. A pertinent example comes to mind in Charlie Chaplin who, at age 54, married his last wife, of age 18, basically the same as in this script. That marriage lasted the rest of his life. ............Among the supporting actors, Thelma Ritter and Fred Clark stand out as charismatic, playing their usual roles. Larry Keating is also excellent as the American ambassador, in Paris, who has to deal with Fred's desire to send Leslie to college in the USA, with a suspected ambition to eventually marry her. Blond Terry Moore, is also present at times, as Leslie's college roommate, who also happens to be Fred's niece. Now 90y.o., she is perhaps most (in)famous for claiming that she was secretly married to eccentric billionaire Howard Hughes, for several decades, until his death. Meanwhile, she had openly married and divorced several other men during that time! However, she also has many screen and TV credits, although not recognized as a big star............I thought Fred's imaginary impersonation of a Texas oil millionaire was the funniest bit............Leslie's perhaps too long ballet I see as being equivalent to Gene Kelly's equally long ballet in "An American in Paris", costarring Leslie.

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 tried playing the drums once. I poked an eye out. Lucky for me it wasn't my own eye. Still, that catastrophic experience told me that I should leave the drumkit to the pros. Neil Peart, John Bonham, and Fred Astaire. Yes. Fred Astaire.

Drum fans, you have GOT to check out the opening number where Fred sings and dances while playing the drums (and he's really playing, too). It's one of those overlooked gems like his golf routine in "Carefree" (1938) where he does a little tap whilst driving a few 300-yarders. Innovative dance routines like these are what made Fred Astaire so great and what make his movies so entertaining.

I'm not really a Fred Astaire Fan; in fact, "Daddy Long Legs" and "Carefree" are the only two films of his that I've seen. But if they're any indication, I'm going to start hunting for more. I watched "Daddy Long Legs" mainly because I really enjoyed the 2005 Korean remake "Kidari ajeossi" (which is not a musical). Now that I've seen the original, I appreciate both films.

My only gripe with this film is that it didn't seem to get personal enough. We rarely get any closeups of the stars, which is a crime considering how stunningly beautiful the leading lady Leslie Caron is. But if it's any consolation, she does a lot of twirls, and each time she does it, we see her dress fly up. Yeah babay! Spin! SPIN!! Oh sorry, I got carried away there. Well, now that I've talked about drums, Korean flicks and spinners, maybe I should talk about the actual film. Naah.

Fred Astaire and Leslie Caron were such marvelous dancing partners in 1955's Daddy Longlegs.

The story line is wonderful. Astaire "adopts" a young Parisian orphan and pays for her college tuition. Throughout the years, she writes in gratitude but he chooses to ignore the letters.

Fred Clark and Thelma Ritter, two veteran movie pros, gave terrific support as workers under Astaire. The sentimental Ritter, as Alice, is able to bring the two together and the film takes on a new meaning until Caron discovers that Astaire has been her benefactor. As romance blossoms, we're happy to see that Clark and Ritter have romantic designs on each other as well.

The dance sequences have never been better. Both Astaire and Carone show their gracefulness. Fred even knew how to put-over "Something's Got To Give."