Cyd Charisse
Cyd Charisse (born March 8, 1922 – June 17, 2008) was an iconic American dancer and actress best known for her elegant technique, screen presence, and classic musical performances alongside Fred Astaire and Gene Kelly. Explore her early life, film dance roles, later years, and enduring influence.
Introduction
Cyd Charisse remains one of Hollywood’s most luminous dancers: her blend of grace, strength, and sensuality made her a standout in the golden age of film musicals. Though she often appeared in roles crafted to highlight her dance skills rather than dramatic acting, her presence and artistry elevated every scene. Her performance in Singin’ in the Rain (1952) and The Band Wagon (1953) are still celebrated as benchmarks of dance on film.
Early Life and Background
Cyd Charisse was born Tula Ellice Finklea on March 8, 1922, in Amarillo, Texas.
Her parents were Lela (née Norwood) and Ernest Enos Finklea Sr., a jeweler.
As a child, she was frail and had a bout of polio, leading her to begin dance lessons as part of building physical strength.
At age 12, she studied ballet in Los Angeles under teachers including Adolph Bolm and Bronislava Nijinska.
In her teenage years, she joined the Ballet Russe de Monte Carlo, performing under stage names such as Felia Siderova and Maria Istomina.
Her nickname “Cyd” originated from her younger brother, who mispronounced “sis” as “Sid”; when she entered films, “Sid” was adapted into “Cyd.”
Entry into Hollywood & Musical Films
Charisse’s early film appearances were often uncredited dance roles. For example, she appeared in Something to Shout About (1943) under a stage name.
She joined MGM under contract and quickly became known in the “Freed Unit” (Arthur Freed’s musical production division).
Her major breakthrough is often considered the short but unforgettable dance sequence with Gene Kelly in Singin’ in the Rain (1952).
In The Band Wagon (1953), she danced with Fred Astaire in the “Dancing in the Dark” and “Girl Hunt Ballet” sequences.
Other musicals include Brigadoon (1954), It’s Always Fair Weather (1955), and Silk Stockings (1957).
Although her dance roles were central, her singing was usually dubbed on screen due to limitations in her vocal abilities.
Later Years & Career Shift
By the late 1950s, the era of big Hollywood musicals was waning, and Charisse transitioned more toward acting in non-dance roles, television appearances, and stage work.
She acted in films like Party Girl (1958) in a dramatic role, as well as Two Weeks in Another Town, The Silencers, and European productions.
On television, she made guest appearances on series like The Love Boat, Fantasy Island, Murder, She Wrote, Frasier, and more.
In 1991, she made her Broadway debut in Grand Hotel as a replacement for Liliane Montevecchi.
Even in her 80s, Charisse appeared in documentaries about Hollywood musicals and in That’s Entertainment! III (1994).
Personal Life
Charisse’s first marriage was to Nico Charisse (a Greek-born dancer) in 1939; they had a son, Nicky, before divorcing in 1947.
In 1948, she married singer Tony Martin, and they remained married until her death. They had one child together, Tony Martin Jr.
A tragic event in her family: her daughter-in-law Sheila Charisse (wife of Nicky) died in the crash of American Airlines Flight 191 in 1979.
Politically, Charisse and her husband were known to support Republican causes, campaigning in elections for Barry Goldwater (1964) and Richard Nixon (1968).
On June 16, 2008, Charisse was hospitalized after suffering what appears to have been a heart attack; she passed away the next day, June 17, 2008, in Los Angeles at age 86.
Although she was a practicing Methodist, she was buried at Hillside Memorial Park Cemetery, a Jewish cemetery, reflecting her husband’s faith.
Style, Impact & Legacy
Cyd Charisse’s legacy rests firmly in dance—her technique, line, and ability to meld strength and sensuality made her among the most admired dancers on film.
Even though many of her screen minutes were short, each appearance left a strong impression; critics and fans often point to her “silken” movement and elegance.
Her collaborations with legends like Gene Kelly and Fred Astaire placed her in a rare class of dancer-actresses recognized both for beauty and technical prowess.
In 2006, she was awarded the National Medal of Arts and Humanities, one of the highest honors in the U.S. arts sector.
Her story is often cited in discussions of how dancers in film must translate stage technique to cinematic form—how movement, camera, costume, and editing all shape performance.
Even decades after her peak, her dance numbers remain studied in film and dance curricula, and her presence continues to evoke the glamour and artistry of Hollywood’s musical golden age.