May 17, 2025 • 8 mins
Hermes Pan helped define Hollywood’s Golden Age of dance — but his name is rarely mentioned.
Fred Astaire called him his “idea man.” He choreographed 89 films, shaped the careers of legends, and stood just off camera while history was made.
In this episode of The Rest of the Story on Hey, Dancer!, we trace the remarkable rise of Pan — from a small town start to becoming the most prolific choreographer in film history.
His legacy is everywhere.
But his story? It's time you heard it.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome to "Hey, Dancer."
(00:04):
Today, I'm sharing the story of a man who arguably left a bigger mark on "Dance in
Film" than anyone else, and yet somehow his name has faded from memory.
Let's change that, shall we?
But first, if you're loving these stories about dance legends and/or moments in dance
(00:25):
history, make sure you're supporting my podcast by hitting that follow or subscribe button.
And I always say, you know, whenever you're watching or listening because, yes, some people
check this out on YouTube or Spotify or Apple, so it all applies.
My name, by the way, is Miller Daurey.
I am your narrator, researcher, writer, editor, all the things, so when you do take a moment
(00:50):
to follow or like or share with your dance fam, it just lets me know that my work is being
received, and honestly, it just means a lot, so thank you.
And okay, let's get into it.
In Memphis, Tennessee, in 1909, a boy was born to a Greek immigrant father and a southern
mother.
His life marked by contrasts from the start, raised partly by his African-American nanny
(01:16):
and Betty.
He was drawn into the vibrant world of jazz music and tap dance that flowed through her community.
And it was Aunt Betty's son Sam, who introduced him to the infectious rhythms of the Charleston
and the black bottom.
These dances, pulsing with the energy of jazz, sparked a love for movement that would shape
(01:37):
the course of his life in ways he couldn't yet imagine.
But just as his passion for dance was taking root, life, dealt a harsh blow.
In 1922, his father died of tuberculosis.
Then, tragedy turned darker.
When his uncle, furious at being excluded from the will, held the boy's widowed mother
(01:57):
and her children at gunpoint, he burned their shares and inheritance, declaring that if
he couldn't have the money, no one would.
With only an eighth grade education, the boy was forced to leave Nashville.
His family was able to sell their remaining property and moved to New York City, hoping for a fresh
start.
(02:18):
At first, they enjoyed the excitement of the city but soon the money ran out.
And they found themselves struggling to survive.
At their lowest point, the family sat down to meals of nothing but potatoes and coffee, facing
a harsh reality with empty pockets and heavy hearts.
But in the bustling streets of New York, he picked up on the way to the city.
(02:41):
And the poor jobs and eventually found his way into the chorus lines of Broadway shows
like Animal Crackers and Top Speed.
It was in Top Speed that a young dancer named Ginger Rogers had taken a liking to him early
on.
They would have dinner in her hotel room.
She happened to suggest he tried his luck in Hollywood where the talkies were creating
(03:03):
new opportunities for dancers.
He traveled west, finding work in small dance roles in Hollywood films and low budget shows
determined to break into the movie industry.
Though he took every opportunity that came his way, the road to success was long and grueling.
For three years, he waited and worked and prayed, hoping for a call from a studio, from a
(03:28):
choreographer each year, feeling more like a lifetime as the dreams seemed to slip further
from reach.
He began working as an assistant to dance director Dave Gould and while assisting on the musical
Flying Down to Rio is moment finally arrived.
Fred Astaire, already an international icon, was stuck on the choreography for a key dance
(03:53):
sequence in this movie, a vibrant, Latin number that was set to become one of the film's
standout pieces.
One mentioned that the young assistant might have a few ideas.
Nervously, our boy made his way to the studio floor, drawing from his jazz routes to suggest
a rhythmic break.
(04:14):
Astaire loved it.
And from that moment on, their 30 year collaboration began.
Astaire referred to him as his "idea man" and they went on to create some of the most memorable
dance sequences in Hollywood history.
And one funny anecdote shows just how involved he really was.
(04:35):
Because Ginger was often finishing other films, the two would rehearse for weeks without
her, workshopping every detail together down to the last step.
Studio workers were said to be flustered walking in to find Astaire dancing tenderly with
our guy, who was, of course, standing in for Ginger.
(04:56):
And when Ginger would finally make it to production, our guy had to teach her her entire part,
which of course he learned in reverse.
The young man didn't just work with Fred and Ginger, although, obviously, that would be
way more than enough, he became the go-to choreographer for many stars like Betty Grable, Rita
(05:19):
Hayworth, Sid Sherees, and Anne Miller.
Lending his genius to 89 films throughout his career, making him THE most prolific choreographer
in Hollywood history, along the way he won an Academy Award for Dance Direction in a
Damsel in Distress, a testament to his brilliance.
(05:42):
His creative influence extended beyond his own choreography.
He cast Bob Fassi in Kiss Me Kate, giving the young choreographer an early platform to
showcase his talent.
That doesn't mean, though, he never had starring dance roles in movies.
In fact, he partnered with film legends like Betty Grable, Lana Turner, and Rita Hayworth.
(06:03):
His performances revealed a striking similarity to Astaire style, showcasing his incredible
versatility in talent on screen.
In truth, he danced with leading ladies because they pleaded with him to do so.
He had a gift from making them look their best and not to mention understand the steps
in a way very few choreographers could convey, but he never sought the spotlight.
(06:28):
He believed his talent was a gift from God and his true calling was to make others shine.
He has been described as sensitive to the eye of the camera as to the lines of the human
body.
His innovative technique not only transformed dance on screen, but also forever changed the
way audiences experienced it, shaping how the world watched and appreciated dance for generations
(06:56):
to come.
He was, in short, the most sought after choreographer of his time.
So the next time you watch Fred Astaire, gliding effortlessly across the screen, remember
this, standing just off camera, smiling with pride was the quiet giant of film dance who
(07:19):
helped make it all possible.
His name.
Hermes Pan.
And now you know the rest of the story.
Alright, dance fam, if you enjoyed this episode all about Hermes Pan, what a story, what
a legend did you know?
Did you know that he's the most prolific choreographer in film history?
(07:40):
Did you know that Fred Astaire called him his "idea man"?
I mean, come on, that's just extraordinary.
I pride myself in knowing a lot about the dance legends and I have to admit, I just did
not know enough about Mr. Pan and I'm so glad now to be informed.
(08:00):
It's important.
So if you are a fan of film, if you are a fan of dance, do me a favor, share this podcast,
spread the word about Mr. Pan, people need to know and also if you liked it, if you feel
like you learned something, do me a favor, no, I'm gonna do yourself a favor.
Can I say that?
(08:21):
Do yourself a favor and subscribe and follow along and like and comment all the things.
Again, it goes a long way.
I appreciate you being here and I'll see you next time.
[Music]
Welcome to "Hey, Dancer."
(00:04):
Today, I'm sharing the story of a man who arguably left a bigger mark on "Dance in
Film" than anyone else, and yet somehow his name has faded from memory.
Let's change that, shall we?
But first, if you're loving these stories about dance legends and/or moments in dance
(00:25):
history, make sure you're supporting my podcast by hitting that follow or subscribe button.
And I always say, you know, whenever you're watching or listening because, yes, some people
check this out on YouTube or Spotify or Apple, so it all applies.
My name, by the way, is Miller Daurey.
I am your narrator, researcher, writer, editor, all the things, so when you do take a moment
(00:50):
to follow or like or share with your dance fam, it just lets me know that my work is being
received, and honestly, it just means a lot, so thank you.
And okay, let's get into it.
In Memphis, Tennessee, in 1909, a boy was born to a Greek immigrant father and a southern
mother.
His life marked by contrasts from the start, raised partly by his African-American nanny
(01:16):
and Betty.
He was drawn into the vibrant world of jazz music and tap dance that flowed through her community.
And it was Aunt Betty's son Sam, who introduced him to the infectious rhythms of the Charleston
and the black bottom.
These dances, pulsing with the energy of jazz, sparked a love for movement that would shape
(01:37):
the course of his life in ways he couldn't yet imagine.
But just as his passion for dance was taking root, life, dealt a harsh blow.
In 1922, his father died of tuberculosis.
Then, tragedy turned darker.
When his uncle, furious at being excluded from the will, held the boy's widowed mother
(01:57):
and her children at gunpoint, he burned their shares and inheritance, declaring that if
he couldn't have the money, no one would.
With only an eighth grade education, the boy was forced to leave Nashville.
His family was able to sell their remaining property and moved to New York City, hoping for a fresh
start.
(02:18):
At first, they enjoyed the excitement of the city but soon the money ran out.
And they found themselves struggling to survive.
At their lowest point, the family sat down to meals of nothing but potatoes and coffee, facing
a harsh reality with empty pockets and heavy hearts.
But in the bustling streets of New York, he picked up on the way to the city.
(02:41):
And the poor jobs and eventually found his way into the chorus lines of Broadway shows
like Animal Crackers and Top Speed.
It was in Top Speed that a young dancer named Ginger Rogers had taken a liking to him early
on.
They would have dinner in her hotel room.
She happened to suggest he tried his luck in Hollywood where the talkies were creating
(03:03):
new opportunities for dancers.
He traveled west, finding work in small dance roles in Hollywood films and low budget shows
determined to break into the movie industry.
Though he took every opportunity that came his way, the road to success was long and grueling.
For three years, he waited and worked and prayed, hoping for a call from a studio, from a
(03:28):
choreographer each year, feeling more like a lifetime as the dreams seemed to slip further
from reach.
He began working as an assistant to dance director Dave Gould and while assisting on the musical
Flying Down to Rio is moment finally arrived.
Fred Astaire, already an international icon, was stuck on the choreography for a key dance
(03:53):
sequence in this movie, a vibrant, Latin number that was set to become one of the film's
standout pieces.
One mentioned that the young assistant might have a few ideas.
Nervously, our boy made his way to the studio floor, drawing from his jazz routes to suggest
a rhythmic break.
(04:14):
Astaire loved it.
And from that moment on, their 30 year collaboration began.
Astaire referred to him as his "idea man" and they went on to create some of the most memorable
dance sequences in Hollywood history.
And one funny anecdote shows just how involved he really was.
(04:35):
Because Ginger was often finishing other films, the two would rehearse for weeks without
her, workshopping every detail together down to the last step.
Studio workers were said to be flustered walking in to find Astaire dancing tenderly with
our guy, who was, of course, standing in for Ginger.
(04:56):
And when Ginger would finally make it to production, our guy had to teach her her entire part,
which of course he learned in reverse.
The young man didn't just work with Fred and Ginger, although, obviously, that would be
way more than enough, he became the go-to choreographer for many stars like Betty Grable, Rita
(05:19):
Hayworth, Sid Sherees, and Anne Miller.
Lending his genius to 89 films throughout his career, making him THE most prolific choreographer
in Hollywood history, along the way he won an Academy Award for Dance Direction in a
Damsel in Distress, a testament to his brilliance.
(05:42):
His creative influence extended beyond his own choreography.
He cast Bob Fassi in Kiss Me Kate, giving the young choreographer an early platform to
showcase his talent.
That doesn't mean, though, he never had starring dance roles in movies.
In fact, he partnered with film legends like Betty Grable, Lana Turner, and Rita Hayworth.
(06:03):
His performances revealed a striking similarity to Astaire style, showcasing his incredible
versatility in talent on screen.
In truth, he danced with leading ladies because they pleaded with him to do so.
He had a gift from making them look their best and not to mention understand the steps
in a way very few choreographers could convey, but he never sought the spotlight.
(06:28):
He believed his talent was a gift from God and his true calling was to make others shine.
He has been described as sensitive to the eye of the camera as to the lines of the human
body.
His innovative technique not only transformed dance on screen, but also forever changed the
way audiences experienced it, shaping how the world watched and appreciated dance for generations
(06:56):
to come.
He was, in short, the most sought after choreographer of his time.
So the next time you watch Fred Astaire, gliding effortlessly across the screen, remember
this, standing just off camera, smiling with pride was the quiet giant of film dance who
(07:19):
helped make it all possible.
His name.
Hermes Pan.
And now you know the rest of the story.
Alright, dance fam, if you enjoyed this episode all about Hermes Pan, what a story, what
a legend did you know?
Did you know that he's the most prolific choreographer in film history?
(07:40):
Did you know that Fred Astaire called him his "idea man"?
I mean, come on, that's just extraordinary.
I pride myself in knowing a lot about the dance legends and I have to admit, I just did
not know enough about Mr. Pan and I'm so glad now to be informed.
(08:00):
It's important.
So if you are a fan of film, if you are a fan of dance, do me a favor, share this podcast,
spread the word about Mr. Pan, people need to know and also if you liked it, if you feel
like you learned something, do me a favor, no, I'm gonna do yourself a favor.
Can I say that?
(08:21):
Do yourself a favor and subscribe and follow along and like and comment all the things.
Again, it goes a long way.
I appreciate you being here and I'll see you next time.
[Music]
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