One of film's most vivacious and vibrant dancing talents who glided effortlessly through Hollywood's "Golden Age" of musicals in the 40s and 50s was Vera-Ellen Westmeyer Rohe, better known to all her fans simply by her hyphenated first name. Whether performing solo or dueting with the best male partners of her generation, which included Fred Astaire and Gene Kelly, Vera-Ellen gave life to some of the most extraordinary dance routines ever caught on film. Sadly, out-and-out stardom eluded her, and she never did earn the recognition or accolades that were bestowed upon many of her musical peers.
Born of German descent in Cincinnati, Ohio on February 16, 1921 (some sources incorrectly indicate 1926), the only child of a piano tuner, she was painfully shy and frail as a youngster and had developed severe health issues by age 9. Using dance as both physical and emotional therapy, what was once recreational became a soulful and burning passion, and her talent became obvious nearly from the onset.
As a teen she appeared in nightclub acts and became one of the Rockettes' youngest members, quickly graduating to a dancer on the "Great White Way." Vera-Ellen made her Broadway debut with "Very Warm for May" at age 18 in 1939, which also featured another young hopeful, June Allyson. She then segued into "Higher and Higher" (1940), which also had Allyson in the cast, "Panama Hattie" (1940) which starred Ethel Merman, "By Jupiter (1942) with Ray Bolger, and a revival of "A Connecticut Yankee" (1943).
Blessed with a sweet, apple blossom appeal and touching, elfin charm, her movie career began taking shape in 1945. Supposedly her mother thought that since Vera-Ellen looked much younger than she was, it might be wise to shave five years off of her age in order to build her up as a dancing teen sensation.
Her first two films were musical vehicles for the up-and-coming Danny Kaye in Wonder Man (1945) and The Kid from Brooklyn (1946). They and the movies were both hits and people soon fell in love with her fresh-faced innocence. A hard-working, uncomplicated talent, she paired famously with Gene Kelly in MGM's Words and Music (1948) in which their "Slaughter on Tenth Avenue" number was a critical highlight, and On the Town (1949) as "Miss Turnstiles," the apple of Kelly's eye. She also appeared twice with Fred Astaire in her heyday, though in the lesser known Three Little Words (1950) and The Belle of New York (1952).
Musicals went out of vogue by the late 50s and, as Vera-Ellen was practically synonymous with musicals, her career fell apart as well. But that was only one reason. A light acting talent, she might have continued in films in dramatic roles, as she had in the movie Big Leaguer (1953) with Edward G. Robinson, but dark, outside influences steered her away altogether. Personal unhappiness and ill health would quickly take their toll on her.
It was discovered that Vera-Ellen silently battled anorexia throughout much of the 50s before doctors had even coined the term or devised treatments. Moreover, she developed severe arthritis following her retirement and was forced to revert to dance lessons again in order to combat it. If that wasn't enough, she had to endure two failed marriages while losing her only daughter, Victoria Ellen Rothschild, to Sudden Infant Death Syndrome (SIDS) in 1963. These tragic events turned her into a virtual recluse. Little was heard for decades until it was learned that she had died of cancer in Los Angeles, California, on August 30, 1981.
Largely forgotten today compared to many of her co-stars, Vera-Ellen was a lithe and lovely presence who deserved so much more. Nevertheless, she has provided film lovers a lasting legacy and deserves to be called one of Hollywood's true dancing legends.