Cyd Charisse could do it all — sing, act, and dance like a goddess.
And her legs? Absolutely legendary.
She stood as a symbol of grace, elegance, and pure physical artistry during Hollywood’s Golden Age.
A skinny and sickly girl
Women like Cyd Charisse will always be remembered for their gifts to the silver screen. As actors and actresses from that golden era pass away, it’s bittersweet —because that time truly showcased a level of talent we may never see again.
The Texas beauty embodied pure class — a true lady, graceful, kind, and effortlessly beautiful.
With her long, sculpted legs, captivating gaze, and effortless command of the dance floor, Cyd Charisse earned her place among Hollywood’s greatest dancers, standing shoulder to shoulder with legends like Fred Astaire and Gene Kelly.
Yet her path to stardom was far from easy, and the story of her life is as compelling as the roles she brought to life on screen.
Born Tula Ellice Finklea on March 8, 1922, in Amarillo, Texas, Charisse faced early adversity and she was a sickly kid. Her nickname, ”Sid,” came from her older brother who had trouble saying “Sis.” Later, producer Arthur Freed adapted it into the spelling we know today: ”Cyd.”
After a bout of polio left her frail as a child, Cyd’s parents enrolled her in ballet lessons to help strengthen her body.
”I was skinny, and it looked like a good way to build me up,” she said.
The therapy sparked a lifelong passion for dance, shaping the trajectory of her future.
Inside her screen magnetism
By her teenage years, Tula’s talent had already caught the attention of top dance instructors. She moved to Los Angeles to study under Adolph Bolm and later trained in London and Paris, honing her craft at prestigious ballet schools. During this time, she experimented with stage names — first adopting “Felia Sidorova” to emphasize a Russian ballet persona, and eventually settling on “Cyd Charisse,” combining a childhood nickname with her married surname.
Charisse’s first steps into film came through dance rather than dialogue. She appeared, uncredited, as a ballet dancer in Something to Shout About (1943) and continued to take small roles as a background dancer. But her poise, beauty, and screen magnetism did not go unnoticed.
MGM recognized her potential and signed her during a period when studios were cultivating their own dance stars. Though initially cast in minor films, she captured the spotlight when she danced alongside Gene Kelly in Ziegfeld Follies (1945). Even in a brief role, her fluid movements and natural chemistry with Kelly drew attention.
Her defining moment came in Singin’ in the Rain (1952). Though she didn’t speak a single line, her performance in the “Broadway Melody” sequence, clad in a shimmering green dress with her dark hair flowing and legs seemingly endless, became one of musical cinema’s most iconic scenes.
Fred Astaire or Gene Kelly?
Charisse often expressed that movement allowed her to convey emotions better than words ever could. She stood 5 feet 6 inches tall, but in heels and full-length stockings, she appeared statuesque, moving with remarkable elegance. Her flawless features and glossy black hair only added to her aura of perfection.
Her collaboration with Fred Astaire in The Band Wagon (1953) exemplified this philosophy. Their “Dancing in the Dark” sequence showcased her perfect blend of subtlety, romance, and technical precision — earning Astaire’s praise as “beautiful dynamite.”
Unlike many dancers who relied purely on speed or technical skill, Charisse fused ballet elegance with expressive drama. Her mastery of jazz, modern, and classical dance styles made her versatile. And when asked whether she enjoyed dancing more with Fred Astaire or Gene Kelly, Cyd Charisse replied:
“I’d say they were the two greatest dancing personalities ever to grace the screen. Each has a unique style and is a delight to work with. But it’s like comparing apples and oranges — they’re both equally wonderful.”
