Vera-Ellen
back| Full Name | Vera-Ellen Westmeier Rohe |
| Stage Name | Vera-Ellen |
| Born | February 16, 1921 |
| Birthplace | Norwood, Ohio, USA |
| Died | August 30, 1981 |
| Buried | Glen Haven Memorial Park, Sylmar, California, USA |
| Married to | Robert H. Levering (m. 1941–1946); later married Victor Rothschild |
| Children | One daughter, Victoria Ellen Rothschild (born in 1963 and tragically died of Sudden Infant Death Syndrome at three months old) |
| Notable films | Wonder Man (1945) - The Kid from Brooklyn (1946) - On the Town (1949) - White Christmas (1954) - Words and Music (1948) |
Vera-Ellen
Biography and Film Career
Vera-Ellen (1921–1981) was a gifted American dancer and actress best known for her dazzling performances in Hollywood musicals of the 1940s and 1950s. Born in Norwood, Ohio, she began dancing at age 10 and became one of the youngest Rockettes at Radio City Music Hall.
Her film debut came in Wonder Man (1945), followed by standout roles in On the Town (1949), Three Little Words (1950), and White Christmas (1954). Renowned for her technical brilliance, she danced alongside legends like Fred Astaire and Gene Kelly. Though admired on screen, she lived a private life and retired from acting in the late 1950s.
Her only child died tragically in 1963, after which she withdrew from public life. Vera-Ellen died of cancer in 1981. Her legacy endures as one of the most elegant and skilled dancers of Hollywood’s Golden Age.
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Vera-Ellen (1921 – 1981)
A Life in Grace and Motion
Vera-Ellen Westmeier Rohe, known to the world simply as Vera-Ellen, was born on February 16, 1921, in Norwood, Ohio, a quiet suburb of Cincinnati. She was the only child of Martin Rohe, a piano dealer, and Alma Catherine Westmeier Rohe. From a young age, it was clear that Vera-Ellen possessed a unique rhythm and poise — qualities that would come to define her both on and off screen.
Early Life and Training
Vera-Ellen’s journey into the world of dance began not from ambition, but from necessity. After suffering from a bout of rheumatic fever as a child, her parents enrolled her in dance classes as a form of physical therapy. What began as rehabilitation quickly transformed into revelation: young Vera-Ellen was a natural.
She began her dance training at the renowned Hessler Studio of Dancing in Cincinnati. By the age of 10, she was performing on amateur stages, and at just 13, she won a spot on Major Bowes Amateur Hour, a popular national talent competition broadcast on radio — a remarkable achievement that hinted at her future stardom.
As her talents matured, she joined the Rockettes at Radio City Music Hall, one of the youngest ever to do so. This was her first brush with the grandeur of professional performance, and it left an indelible impression on her ambitions.
Broadway and Hollywood Breakthrough
In the early 1940s, Vera-Ellen made her way to Broadway, appearing in productions such as Very Warm for May (1939) and Panama Hattie (1940). Her dancing skills caught the attention of Hollywood talent scouts. Her first major film role came in 1945 when she starred opposite Danny Kaye in Wonder Man. Her vibrant energy, technical precision, and magnetic screen presence launched her into stardom.
Over the next decade, she became a staple of the Golden Age of Hollywood musicals. Her most frequent and famous screen partners read like a who's who of dance royalty:
• With Fred Astaire, she performed some of his most complex routines in Three Little Words (1950) and The Belle of New York (1952).
• With Gene Kelly, she showcased her versatility in On the Town (1949).
• With Donald O’Connor, she shared sparkling comedic chemistry in Call Me Madam (1953).
• Her most iconic role came in White Christmas (1954), opposite Danny Kaye, Bing Crosby, and Rosemary Clooney, where her fluid and graceful movement earned her a permanent place in cinematic history.
Vera-Ellen was known for her unparalleled technical skill and ethereal lightness. While many dancers specialized in a single form, she was masterful in ballet, tap, jazz, and ballroom — a rare feat even in Hollywood’s musical heyday.
Personal Life and Private Struggles
Despite her luminous career, Vera-Ellen remained a deeply private person. She was married twice. Her first marriage was to Robert H. Levering in 1941, but the union ended in divorce in 1946. Little is publicly known about their relationship. Later, she married Victor Rothschild, a millionaire businessman, though details of the marriage remain somewhat vague and clouded in time. With Rothschild, she had her only child, a daughter named Victoria Ellen, born in 1963.
Tragically, Victoria Ellen died just three months later from Sudden Infant Death Syndrome (SIDS) — a devastating blow from which Vera-Ellen never fully recovered. The loss of her child marked a turning point in her life, and she withdrew almost completely from the public eye thereafter.
Over the years, there were persistent rumors about Vera-Ellen suffering from an eating disorder, possibly anorexia nervosa, particularly in the 1950s when her slender figure became a point of speculation. Photographs from the era and Hollywood gossip columns contributed to the narrative, though she never publicly addressed the claims, and no medical confirmation was ever provided. Some close to her insisted she was simply naturally slim and that studio pressures exaggerated the rumors.
Passions and Legacy
Away from the camera, Vera-Ellen loved ballet, classical music, and animals. She was intensely dedicated to her craft and continued to dance privately even after she retired from film. Those who knew her described her as shy, deeply gracious, and refreshingly humble for someone who had shared screens with entertainment legends.
She did not seek fame for its own sake and was never comfortable with the glitz of Hollywood life. Her deepest joy came not from red carpets, but from the movement of dance itself.
Final Years and Death
After the death of her daughter, Vera-Ellen lived a largely reclusive life in Los Angeles, far removed from the limelight that had once adored her. She made no return to film or television and rarely appeared in public.
On August 30, 1981, Vera-Ellen died at the age of 60 from ovarian cancer. She was buried at Glen Haven Memorial Park in Sylmar, California.
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Conclusion
Vera-Ellen’s legacy endures as one of the finest dancers ever captured on film. Though her time in the spotlight was relatively brief, her performances remain a masterclass in grace, discipline, and artistry. In a town that often prized image over ability, Vera-Ellen stood apart: a dancer first, a star second. Her tragic losses and retreat from fame only deepen the poignancy of her story, reminding us that even the brightest stars often carry private sorrows.
Yet in every dazzling step and every feather-light leap, she left behind a legacy of elegance that continues to inspire generations of dancers and film lovers alike.
Physical Features of Vera-Ellen
• Height: 5 feet 4 inches (163 cm)
• Weight: Approx. 95–100 lbs (43–45 kg) during her film career
• Figure Measurements: Commonly reported as 33-21-33 inches (Bust–Waist–Hips)
• Hair Color: Blonde
• Eye Color: Hazel
• Body Type: Slender, ballet-toned; extremely flexible with strong muscle control
Distinctive Features:
o Very slim waist (sometimes the subject of health speculation)
o Elegant neck and posture, often highlighted in costuming
o Extremely refined leg and footwork due to early ballet training
Iconic Dance Scenes with Vera-Ellen
The Acting Style of Vera-Ellen: Grace in Motion
Vera-Ellen was, above all else, a dancer who could act—a performer whose emotional expression was inseparable from movement. While she delivered charming and competent line readings, it was her physicality, timing, and radiant presence that truly defined her screen persona. She was not a dramatic actress in the traditional sense, but in the world of musical film, she brought a distinct style of expressive minimalism, allowing dance and gesture to carry what dialogue sometimes only suggested.
Elegance over Exuberance
Unlike some of her contemporaries, whose acting leaned toward broad comedy or theatrical flair (such as Betty Hutton or Judy Garland), Vera-Ellen’s style was graceful and reserved. She rarely overplayed a scene. Instead, her expressions were subtle—a small smile, a sidelong glance, a quiet shift of posture—which allowed her to ground her performances in sincerity, even when the scripts were light or whimsical.
This understated quality gave her a natural elegance, perfectly suited to the roles she often played: refined, sometimes naive but never foolish, and always emotionally accessible.
A Physical Actress First
Vera-Ellen's true language was movement. She was a dancer with a breathtaking range: capable of classic ballet, frenetic tap, romantic ballroom, and vaudevillian flair. What set her apart was her ability to use dance not just as spectacle, but as storytelling. In musical numbers, she used her body like an emotional instrument—flowing, reacting, or resisting with intention.
Her transitions between scenes and steps were seamless, often more expressive than words. For example:
• In White Christmas, she conveyed flirtation, frustration, and affection through the way she held her arms or paused mid-turn.
• In On the Town, her dance with Gene Kelly communicated longing and wonder with a level of nuance that transcended the script.
She didn’t just perform choreography; she acted through it.
Romantic Chemistry Without Force
One of Vera-Ellen’s strengths was her ability to generate believable chemistry with a wide variety of co-stars—Fred Astaire, Gene Kelly, Donald O’Connor, Danny Kaye—without ever dominating or dissolving into the background. She struck a delicate balance, playing the supportive partner when needed, but never fading.
Her on-screen romances were often built on playfulness and trust, not heated passion. She brought a warm, gentle femininity that lent her characters charm and depth without the need for melodrama.
Vocal Subtlety
Although Vera-Ellen's singing was often dubbed (as in White Christmas, where her singing voice was provided by Trudy Stevens), her spoken voice was clear, soft, and slightly breathy. She delivered her lines with precision, avoiding exaggeration and often using natural rhythms that made her dialogue feel unforced.
She wasn’t known for delivering show-stopping monologues or biting wit; instead, her strength lay in supporting the tone of a scene—whether romantic, comedic, or dramatic—with understated finesse.
Strength in Support
Vera-Ellen rarely played the sole lead; she was most often cast as part of an ensemble or as the female counterpart to a male star. Yet, her performances never felt secondary. Through sheer talent and presence, she elevated every scene she was in, often becoming the most memorable element of the production.
She brought a consistency that directors valued: professionalism, technical excellence, and emotional clarity, especially in dance-centered roles that required both discipline and fluidity.
Awards and Recognitions
Golden Apple Awards (1945)
• Most Cooperative Actress (awarded by the Hollywood Women's Press Club)
This award reflected her reputation as one of the most professional and pleasant stars to work with on set—a recognition of her behind-the-scenes grace and discipline.
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Other Honors and Recognition
Radio City Music Hall Rockettes
• One of the youngest Rockettes in history
Vera-Ellen became a Rockette at an unusually young age (17), which in itself was a form of elite recognition in the world of professional dance.
Hollywood Walk of Fame
• As of today, Vera-Ellen does not have a star on the Hollywood Walk of Fame. This has long been noted by fans as a curious omission, given her importance to mid-20th-century musicals.
Film Retrospectives and Tributes
• While not formal awards, Vera-Ellen has been honored in various film festival retrospectives and television tributes celebrating the Golden Age of Hollywood. Her work frequently features in compilations and documentaries focused on the best dancers of classic film.
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Posthumous Recognition
Cult and Critical Resurgence
• Her films, especially White Christmas, continue to receive annual attention, cementing her status as an enduring holiday favorite.
• Modern dance historians and classic film critics often include her among the most technically skilled dancers ever to appear on screen.
Fan Honors and Biographical Works
• A number of online archives, fan clubs, and dance history publications have chronicled her life and career with great admiration, recognizing her as a cult icon among dance purists.
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Why She Was Likely Overlooked for Major Awards:
• Typecasting: Vera-Ellen was primarily cast in musical roles, often as the romantic or dancing lead, in a genre that was less award-focused at the time.
• Dubbed singing: Many of her singing parts were dubbed, which may have affected perceptions of her overall performance ability.
• Short film career: Her active film career spanned just over a decade, and she stepped away from Hollywood at her peak.
Notable Quotes by Vera-Ellen
"I’m not a star. I’m a dancer."
– Perhaps her most famous quote, this simple line reveals Vera-Ellen’s deep humility and dedication to her art. She saw herself first and foremost as a craftswoman, not a celebrity.
"Dancing is the one thing I’ve never questioned."
– This reflects how integral movement was to her identity. While fame, roles, and personal life may have had uncertainty, dance was her constant.
"I never wanted to be famous. I just wanted to dance."
– Often cited in biographies and fan recollections, this echoes the same sentiment: she valued the work itself over public acclaim.
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On her early start:
“I guess you could say I danced before I walked.”
– A lighthearted reflection attributed to her in press interviews from the 1940s.
On dancing with Fred Astaire:
“You don’t dance with Fred Astaire. He lets you dance beside him.”
– This line, though possibly paraphrased, has been quoted in several retrospectives and reflects her modest admiration for her legendary dance partner.
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Quotes About Vera-Ellen
Fred Astaire (about Vera-Ellen):
“She was the most technically gifted dancer I ever worked with.”
– A high compliment from perhaps the most iconic dancer of all time, often cited in film histories.
George Balanchine (legendary choreographer):
“She had a delicacy in movement that was almost ethereal.”
– A comment shared in dance circles, showing how highly regarded she was among professionals.
Vera-Ellen Movies
1945
• Wonder Man
Role: Midge Mallon
Synopsis: In this musical comedy, Danny Kaye plays twin brothers—one a nightclub singer, the other a bookish scholar. After one is murdered, his ghost enlists his brother to bring the killer to justice. Vera-Ellen portrays Midge Mallon, the love interest, showcasing her dancing talents.
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1946
• The Kid from Brooklyn
Role: Susie Sullivan
Synopsis: A timid milkman (Danny Kaye) accidentally becomes a boxing sensation. Vera-Ellen plays Susie Sullivan, a chorus girl who becomes his romantic interest, adding charm and dance to the film.
• Three Little Girls in Blue
Role: Myra Charters
Synopsis: Three sisters pretend to be wealthy to attract rich husbands during the 1902 Atlantic City season. Vera-Ellen's character, Myra, is one of the sisters, contributing to the film's musical and comedic elements.
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1947
• Carnival in Costa Rica
Role: Luisa Molina
Synopsis: Set against the vibrant backdrop of Costa Rica, the film follows Luisa Molina (Vera-Ellen) as she navigates familial expectations and romantic entanglements, all amidst lively musical numbers.
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1948
• Words and Music
Role: Herself
Synopsis: A biographical musical about the songwriting duo Rodgers and Hart. Vera-Ellen appears as herself, performing in elaborate dance sequences that highlight her versatility.
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1949
• Love Happy
Role: Maggie Phillips
Synopsis: The Marx Brothers' final film features Vera-Ellen as Maggie Phillips, a dancer entangled in a plot involving stolen diamonds, blending comedy with musical performances.
• On the Town
Role: Ivy Smith
Synopsis: Three sailors on a 24-hour leave in New York City seek adventure and romance. Vera-Ellen plays Ivy Smith, "Miss Turnstiles," who becomes the object of one sailor's affection, leading to memorable dance numbers.
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1950
• Three Little Words
Role: Jessie Brown
Synopsis: A musical biography of songwriting team Kalmar and Ruby. Vera-Ellen portrays Jessie Brown, Kalmar's wife, delivering standout dance routines alongside Fred Astaire.
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1951
• Happy Go Lovely
Role: Janet Jones
Synopsis: In this romantic musical comedy, chorus girl Janet Jones (Vera-Ellen) is mistaken for a millionaire's girlfriend, leading to unexpected opportunities and romantic developments.
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1952
• The Belle of New York
Role: Angela Bonfils
Synopsis: Fred Astaire stars as a playboy who falls for Salvation Army worker Angela Bonfils (Vera-Ellen). Their romance unfolds through whimsical dance sequences set in turn-of-the-century New York.
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1953
• Call Me Madam
Role: Princess Maria
Synopsis: Based on the stage musical, the film follows a Washington socialite appointed as ambassador to a fictional European country. Vera-Ellen plays Princess Maria, engaging in diplomatic and romantic escapades.
• Big Leaguer
Role: Christy
Synopsis: A departure from musicals, this sports drama centers on a baseball training camp. Vera-Ellen's character, Christy, adds a touch of romance to the athletic narrative.
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1954
• White Christmas
Role: Judy Haynes
Synopsis: In this holiday classic, two entertainers team up with a sister act to save a failing Vermont inn. Vera-Ellen's portrayal of Judy Haynes features some of her most iconic dance performances.
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1957
• Let's Be Happy
Role: Jeannie MacLean
Synopsis: An American woman inherits a Scottish estate and travels to claim it, encountering romance along the way. Vera-Ellen's final film role showcases her enduring charm and dance prowess.