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"He showed up on time and worked his little tail off," Kelly once said.Never mind that other partners, like 19-year-old Debbie Reynolds, nearly worked their feet off.After all of that work, Kelly, who was also the film's co-director, ended up selecting the first take for the finished movie.
In 1999, the American Film Institute named Kelly among the Greatest Male Stars of All Time, ranking at No. Kelly was especially influential in encouraging men to dance, since his style was perceived as masculine and manly which attracted men to what has often been regarded as an effeminate art.They both rebelled, and, according to Kelly:" We didn't like it much and were continually involved in fistfights with the neighborhood boys who called us sissies...I didn't dance again until I was fifteen." Kelly returned to dance on his own initiative and by then was an accomplished sportsman and well able to take care of himself. He enrolled in Pennsylvania State College to study journalism but the economic crash obliged him to seek employment to help with the family's finances.He began to focus increasingly on performing, later claiming: "With time I became disenchanted with teaching because the ratio of girls to boys was more than ten to one, and once the girls reached sixteen the dropout rate was very high." After a fruitless search, Kelly returned to Pittsburgh, to his first position as a choreographer with the Charles Gaynor musical revue Hold Your Hats at the Pittsburgh Playhouse in April, 1938.Kelly appeared in six of the sketches, one of which, "La Cumparsits," became the basis of an extended Spanish number in Anchors Aweigh eight years later.
In the same year he received his first assignment as a Broadway choreographer, for Billy Rose's Diamond Horseshoe.