Ann Miller (April 12, 1923 – January 22, 2004) was an American dancer, sing… Read Full Bio ↴Ann Miller (April 12, 1923 – January 22, 2004) was an American dancer, singer and actress
Miller was given a contract with RKO at the age of thirteen (she had told them she was eighteen), and remained there until 1940.
The following year, Miller was offered a contract at Columbia Pictures, where she bumped friend Lucille Ball from the throne as "Queen of the B-Movies". She finally hit her mark (starting in the late 1940s) in her roles in MGM musicals such as Kiss Me, Kate, Easter Parade, and On the Town.
Miller was famed for her speed in tap dancing; she claimed to be able to tap 500 times per minute. She was known as well, especially later in her career, for her distinctive appearance, which reflected a studio-era ideal of glamor: massive black bouffant hair, heavy makeup with a slash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs.
In 2001 she took her last role, playing Coco in auteur director David Lynch's critically acclaimed Mulholland Drive. Her last stage performance was a 1998 production of Stephen Sondheim's Follies, in which she played the hardboiled survivor Carlotta Campion and received rave reviews for her rendition of the anthemic "I'm Still Here."
For her contribution to the motion picture industry, Ann Miller has a star on the Hollywood Walk of Fame at 6914 Hollywood Blvd.
She died at the age of 80 from lung cancer, and was interred in the Holy Cross Cemetery in Culver City, California.
Miller was given a contract with RKO at the age of thirteen (she had told them she was eighteen), and remained there until 1940.
The following year, Miller was offered a contract at Columbia Pictures, where she bumped friend Lucille Ball from the throne as "Queen of the B-Movies". She finally hit her mark (starting in the late 1940s) in her roles in MGM musicals such as Kiss Me, Kate, Easter Parade, and On the Town.
Miller was famed for her speed in tap dancing; she claimed to be able to tap 500 times per minute. She was known as well, especially later in her career, for her distinctive appearance, which reflected a studio-era ideal of glamor: massive black bouffant hair, heavy makeup with a slash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs.
In 2001 she took her last role, playing Coco in auteur director David Lynch's critically acclaimed Mulholland Drive. Her last stage performance was a 1998 production of Stephen Sondheim's Follies, in which she played the hardboiled survivor Carlotta Campion and received rave reviews for her rendition of the anthemic "I'm Still Here."
For her contribution to the motion picture industry, Ann Miller has a star on the Hollywood Walk of Fame at 6914 Hollywood Blvd.
She died at the age of 80 from lung cancer, and was interred in the Holy Cross Cemetery in Culver City, California.
I've Gotta Hear That Beat
Ann Miller Lyrics
We have lyrics for these tracks by Ann Miller:
Always True To You In My Fashion Oh, Bill Why can't you behave Why can't you behave? How …
Behave Why can't you behave? Oh, why can't you behave? After all th…
From This Moment On From this moment on You for me, dear Only two for tea,…
Hallelujah! I'm recalling times when I was small, in light and…
I'm Still Here Everybody says don't Everybody says don't Everybody says d…
Shakin the Blues Away There's an old superstition way down south Everybody believe…
Shakin' The Blues Away There's an old superstition way down south Everybody believe…
Shaking The Blues Away There's an old superstition way down south Everybody believe…
Too Dam Hot It's too darn hot It's too darn hot I'd like to sup…
Why Can't You Behave Why can't you behave? Oh, why can't you behave? After all th…
Why Can't You Behave? Why can't you behave? Oh, why can't you behave? After all th…
Why Can't You Believe Why can't you behave? Oh, why can't you behave? After all th…
Why Cant You Behave Why can't you behave? Oh, why can't you behave? After all th…
Why Can’t You Behave Why can't you behave? Oh, why can't you behave? After all th…
Why Oh Why Why can't you behave? Oh, why can't you behave? After all th…
Why Oh Why? Why can't you behave? Oh, why can't you behave? After all th…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Esmee Phillips
Berkeley just didn't like individuals much. He wanted to marshal them in patterns to fulfil his strange fantasies. There is an unmistakable strain of misogynist sadism in his imagination, which above all comes out in 'Lullaby of Broadway', that creepy but brilliant conception.
He was also insecure, apt to get cross because his technical knowhow was so patchy. He could not give detailed choreographic instructions; didn't know a buck from a wing. He had never danced himself.
Like all men, Buzz met his match in Eleanor Powell. For once he confined himself to moving the camera in 'Lady Be Good', recording her endlessly evolving movement instead of chopping it up. He kept busy with the complex but imperceptible machinery of 'Fascinating Rhythm'. He admitted he was more proud of that number than of all his Warners spectacles.
He serves the supercharged Ms Miller pretty well here, again milking the simple, surrealist idea instead of embellishing it with tricks.
Issie Chatterton
It's so rare nowadays that you see dancers that look healthy, most of them look stick thin so I love the fact that Ann miller isn't! She is absolutely incredible! X
Klutzy68
One of my all time favorite musical numbers and of course it has the great Busby Berkeley written all over it. Another terrific Miller dance is “It’s TooDarn Hot” in Kiss Me Kate. I LOVE that she performed it for the troops in 120* heat! I was lucky enough to see and have my young daughter see Miller and Mickey Rooney (IMO the most talented performer in film history) in their wonderful stage musical Sugar Babies back in the 80’s.
MKIVWWI
One of the all-time best! Thanks for posting.
Dominic Grijalva
Umm excuse me? I know those people better get up on their feet after that performance! None of this golf clapping!! Amazing!!
Charles Russell
It's a studio sound stage...........!!!!!!!!!!!!
not2tees
YouTube gets you to meet great stars of amazing talent that you have only heard about long ago. Ann Miller could sing and dance with the best ever, and was such a personality and story teller as well. I wish her life could have been happier, especially her married life. The love of her life dying young of a broken heart and all . . .
Esmee Phillips
Berkeley rated Eleanor Powell top among movie dancers. His concept here echoes hers and Dave Gould's choreography in the gigantic finale of 'Born to Dance': a soloist moving past groups of instrumentalists (trombones, trumpets etc) as the orchestration highlights their contributions. Buzz extended it from the brass, flutes and drums of Ellie's military support- soldiers and sailors- to an entire symphonic line-up, arranged roughly as orchestral forces would be in the wide shot at the end: strings and big fiddles sandwiching brass and wind, percussion at the back.
David Allen
This scene and the other Ann Miller number deserved to be placed in a much better movie than “ Small Town Girl”.
JACK ANTHONY
I agree. Ann Miller's numbers were far too big and glamorous for such a small town movie. Although Ann did write in one of her books that sometimes she would shoot a number without it being attached to any particular film. When a script became available and her dialogue completed the number would then be inserted in.
Esmee Phillips
True. It is a remake of the 1936 Janet Gaynor flick, typical of the 1950s when studios took to musicalizing old comedies. They had run out of original plots and hoped scope, color and stereo sound would compensate. The rewrite has too much story for its runtime, but at least this weird and glorious masterpiece, Berkeley's last, was crowbarred into it for Ann.