Norman Borine - Dancing with the Stars: A Story of the Golden Era of Hollywood Musicals

N orman Borine reveals intimately the exciting and fascinating story of how he moved from a small town in Idaho to Hollywood, where he soon became a member of the large and elite MGM family. He explains how he leaped from being a $100 per week contract dancer to becoming Cyd Charisses first on-screen dance partner, and how he started earning $1,000 per week a remarkable salary for a dancer in the early 40s. He even became a dance-in for Fred Astaire.

Norman relates tales of dancing with Judy Garland, Gene Kelly, Ray Bolger, Lucille Ball, Lucille Bremer, Betty Hutton, Marilyn Monroe, Carmen Miranda, Vera-Ellen, Eleanor Powell, Mitzi Gaynor, Yvonne De Carlo, and of swimming until waterlogged in a film with Esther Williams. He also tells a dramatic and humorous story about Lassie and relates encounters on the MGM lot with Katharine Hepburn, as well as other famous directors and choreographers. He also tells of the times when he was loaned out to other major studios.

The list of movie greats with whom he worked is long, and he tells fascinating tales never before told.

CHAPTER ONE

A s a child, I did a lot of dreaming. Not just at night after falling asleep, but also the kind of dreaming we all do at times during the day. These were the billions and billions, as Carl Sagan would say, of both little and big (sometimes nebulous) thoughts and ideas weaving constantly in and out of our minds, regardless of where we happened to be or what we were doing during waking hours. Its interesting how this dream process sometimes becomes reality for a lucky few of us, including me.

Things were different in the 40s than they are today much different. Not just in Hollywood, but everywhere. Perhaps my biggest regret at this particular moment is that I didnt begin keeping a journal the day I stepped off the big red streetcar at Venice and Overland Boulevard after paying my 10-cent fare in Hollywood approximately 45 minutes earlier. The walk to the studio gates seemed like a mile, and as I walked I remembered my childhood dreams. What would it actually be like? How would I act? What would I say? More than ever, I realized, dreams really do come true.

Since the age of eight, I had dreamed of working in the movies. The colossal building that was coming closer with every step meant my dream was about to become reality. On this day, I would sign a seven-year contract with the worlds largest and most prestigious studio MGM, the home of the largest number of stars on the planet! These thoughts raced back and forth in my mind as I made that fateful walk.

As I approached Washington Boulevard, I didnt simply walk across when the signal turned green Im pretty sure I floated to the other side. I glanced at the Greek columns, wrought iron gates, and the sign that pointed a large red arrow showing me I should walk left, turn right, and use the auto gate.

I stopped dead in my tracks and looked at the sign again. The information was still the same, but I knew that only movie stars and directors used the auto gate. Everyone knew that. Id seen it a thousand times in the multitude of movie magazines. As I continued to walk, my gaze was directed upward, stopping on what had been indelibly stamped upon my 26-year-old mind from the time I was eight. There were the giant letters shouting to all the world that this was, indeed, the world of Metro Goldwyn Mayer, and for all like myself who had difficulty believing it, there was Leo the lion, mouth open wide, roaring ARS GRATIA ARTIS.

Approaching the window at the left of the gate, my questioning words to the guard were lost as he got up from his chair and stepped through the door facing the studio. Over my shoulder I heard him say, Good morning, Miss Dietrich. Its a pleasure to see you again. He gave a slight bow, and then nodded to the chauffeur as the long black limo passed slowly through the gate.

How long I stood gaping at the disappearing star in her limo is unimportant. The next thing I was aware of was the guard asking no doubt for the second or third time what my business was and whether I had a pass. No, I did not have a pass; I was here to see Mr. Cordner in casting. He did his nodding thing again and returned to his booth. He picked up the phone, and in a matter of seconds leaned up to the hole in the window and motioned me toward the last building on the right.

I wasted no time floating through the magic gate. What happened during the next 10 or 15 minutes remains, now more than 60 years later, somewhat shrouded in a sort of mystical fog. The bottom line was that I signed on the dotted line and, moment by moment, became aware that this place was to be my new home, so to speak, for the next seven years.

Your first assignment will be working with Judy Garland in Till the Clouds Roll By. There is no actual starting date for the film yet, but you are guaranteed 48 weeks of pay for each of the seven years, even during days or weeks when there may be no actual work. There is a possibility that you will be loaned out to other major studios from time to time, as well. Loan-outs will be at the same rate, of course. Meanwhile, you will be on call and can be called in to work at any time. When you are not home, be sure someone knows how to reach you, the secretary said, and was extremely polite as she handed me a copy of the contract. Feel free to call me any time if you have questions, Norman. Im sure youre going to be very happy here. As she finished the sentence, the phone rang and she moved to answer it. I walked out through the door and into the life of my dreams. I left that casting office as though I was walking on my own Yellow Brick Road. After all, the secretary had said, Your first assignment will be with Judy Garland. No wonder my feet barely touched the ground!