THE ASTAIRE AFFAIR

Having represented the estate of Fred Astaire for many years and been extensively interviewed for the cover story on Mrs. Astaire (“Fred Is Her Co-Pilot,” by Irene Lacher, Aug. 17), I was surprised by the absence of so many directly relevant statements.

The “anonymous source” information The Times chose to represent as fact is inaccurate or at best misinformed in commenting about personal and confidential matters. If such sources refuse to be identified, their statements should be viewed skeptically.

The article suggested that Astaire biographies (PBS alone produced three) and other profiles of his life and work have been suppressed. Just the opposite is true. Moreover, Mr. Astaire’s works are in the broadest possible distribution throughout the world on television, on video, in theaters and on sound recordings. There are countless books and reference sources on Mr. Astaire. How can any reasonable person suggest that the public has somehow been deprived?

As for Tom Karsch’s alleged difficulty in obtaining film clips, Mrs. Astaire has never heard of him or received any such requests or communication from Turner Classic Movies. Her relationship with the executives at the parent company, Time Warner, is cordial and cooperative.

Documentaries (to which the article gave inexplicable and unwarranted emphasis) are not privileged or immunized against rights clearance obligations. The merchandising of information, history and culture is big business and the purveyors of it who pretend altruism are being deceptive and disingenuous. Most owners of documentaries invest in and commercially exploit them for profit just like any other business. As did Mr. Astaire, Mrs. Astaire has frequently made fee accommodations for smaller production budgets (whether for documentaries or otherwise).

Finally, what a holder of artistic rights approves or disapproves, what criteria they apply or what fees are charged or waived is no one’s business but that of the artist or their designee, particularly when their original works survive complete and intact for all to enjoy.

THOMAS A. WHITE

Beverly Hills

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To Fred Astaire’s fans, it appears to be a clear-cut case of the much younger wife using her famous husband’s name and image to satisfy her own needs (Letters, Aug. 24). Nothing could be farther from the truth.

In the early 1980s, I worked for Astaire’s business manager, with one of my duties being to meet with Astaire twice a week in his home to go over his affairs. The love and devotion that “Mr. A” and Robyn showed each other over the years has always stood out in my mind.

Robyn was a source of tremendous joy and strength to Fred Astaire. His trust in her judgment, as well as his concern for her comfort and security, was a topic of conversation between us many times.

JUDY PHILEN O’CONNELL

Rolling Hills Estates

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Fred Astaire’s and Gene Kelly’s dancing styles were so different that they defy all but the most superficial comparison (Letters, Aug. 24). Kelly’s style was basically muscular and athletic, whereas Astaire’s was fluid and graceful.

Incidentally, let me throw in a good word for the third dancer of the Hollywood triumvirate, Donald O’Connor, who has spent his life in the shadow of the other two greats.

CHARLES E. GARDNER

Whittier

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My vision will always see Fred arm in arm with Ginger, Rita and Cyd. No vacuum can sweep that away!

CARMEN JURADO

Aliso Viejo