Cyd Charisse was the kind of performer who could do everything — she could sing, she could act, and she could dance with a level of beauty that didn’t seem entirely human.
And those legs? They became the stuff of Hollywood legend.
She stood as a symbol of refinement, elegance, and breathtaking physical artistry throughout the Golden Age of film.
A once frail and delicate child
Women like Cyd Charisse remain unforgettable because of what they contributed to classic cinema. As the icons of that era slowly leave us, it feels bittersweet. That period showcased a depth of talent we may never witness again.
This Texas-born beauty radiated grace in every sense — poised, gentle, and naturally stunning.
With her endlessly long, perfectly shaped legs, her mesmerizing eyes, and the effortless way she commanded any dance floor, Cyd Charisse secured her place among Hollywood’s all-time great dancers, sharing space with legends such as Fred Astaire and Gene Kelly.
But her road to fame was anything but smooth, and the story behind her rise is just as fascinating as the unforgettable characters she portrayed on the screen.
Born Tula Ellice Finklea on March 8, 1922, in Amarillo, Texas, Cyd Charisse began life facing hardship. She was a fragile child, often unwell. Her nickname “Sid” came from her older brother, who couldn’t quite pronounce “Sis.” Later, producer Arthur Freed reshaped that childhood nickname into the version that became iconic: “Cyd.”
After battling polio, which left her physically weakened, her parents enrolled her in ballet classes to help rebuild her strength.
“I was so skinny, and ballet seemed like a good way to get stronger,” she once recalled.
What started as physical therapy soon became a deep, lifelong devotion to dance — one that determined the entire course of her future.
The beginnings of her on-screen magic
By her teenage years, Tula’s remarkable ability had already been noticed by top dance teachers. She moved to Los Angeles to study with Adolph Bolm, then continued refining her craft in London and Paris at major ballet schools. During this period, she experimented with stage names — first calling herself “Felia Sidorova” to fit the image of a Russian-trained ballerina — before eventually choosing “Cyd Charisse,” a combination of her childhood nickname and her married surname.
Her entry into Hollywood came through dance rather than acting. She made her uncredited film debut as a ballet performer in Something to Shout About (1943) and continued appearing in small background roles. But her grace, presence, and striking beauty quickly caught the right eyes.
MGM soon recognized her star potential and signed her during an era when studios actively cultivated their own dance legends. Though she started in lesser-known productions, she turned heads when she appeared with Gene Kelly in Ziegfeld Follies (1945). Her short appearance exuded such fluidity and effortless connection with Kelly that even in a brief scene, she stood out.
Her breakthrough came in Singin’ in the Rain (1952). Without speaking a single line, she stole the screen in the “Broadway Melody” sequence — gliding across the frame in a shimmering green dress, long dark hair flowing, her legs appearing to stretch on forever. The number remains one of the most unforgettable moments in musical film history.
Fred Astaire or Gene Kelly?
Charisse often said that dance allowed her to express emotions far more deeply than dialogue ever could. At five foot six, she looked taller when she danced, especially in heels and stockings. Her striking features and sleek black hair only enhanced the magnetic aura that made her unforgettable.
Her legendary pairing with Fred Astaire in The Band Wagon (1953) perfectly embodied her approach to movement. Their “Dancing in the Dark” sequence remains one of cinema’s great romantic duets — subtle, elegant, and technically flawless. Astaire himself described her as “beautiful dynamite.”
Unlike dancers who relied solely on showmanship or precision, Charisse blended her classical ballet foundation with emotional storytelling. She mastered ballet, jazz, modern dance, and everything in between. When interviewers inevitably asked whether she preferred dancing with Astaire or Kelly, she responded with characteristic diplomacy:
“I think they’re the two greatest dancing personalities ever to appear on film. Each has his own style and is a joy to work with. But it’s like comparing apples and oranges — both are wonderful in their own ways.”
Her private life
Away from the cameras, Charisse was known for her professionalism, modesty, and steady personal life. She avoided Hollywood’s party culture and maintained a reputation for reliability and grace that earned the admiration of her peers.
As the era of big movie musicals faded in the 1960s, she moved into television and stage work. She appeared on variety programs and starred in Broadway productions like Grand Hotel in the 1990s. She also performed in a nightclub act with her husband, showing audiences that her charm and skill continued well into her seventies.
Her achievements were officially honored when President George W. Bush presented her with the National Medal of Arts in 2006. She also received an honorary doctorate from the University of North Carolina School of the Arts.
Cyd Charisse married singer Tony Martin in 1948, and their marriage lasted more than sixty years, right up until her death. They met in classic Hollywood style:
“Well, he had an agent — Nat Goldstone — and so did I,” she said in an interview with the Television Academy. “Nat introduced us, and there was a popular foreign film that everyone wanted to see. He invited me to go with him, and that’s how our dating began.”
When tragedy hit
Together, they had one child, and Charisse had another son from her earlier marriage. Despite her glamorous reputation, her home life remained grounded, private, and free from scandal — something rare in the film world.
But tragedy struck the family on May 25, 1979, during Memorial Day weekend, when American Airlines Flight 191 crashed shortly after takeoff near Chicago.
The aircraft, headed from O’Hare to Los Angeles, lost an engine and plunged into a trailer park in Des Plaines, Illinois. All 258 passengers, 13 crew members, and two people on the ground were killed.
Among them was Sheila Charisse, the 36-year-old wife of Nico Charisse, Cyd’s son from her first marriage.
The crash became the deadliest U.S. commercial aviation disaster before 9/11 and severely damaged public trust in the DC-10 aircraft. The plane was soon relegated mostly to cargo service. Today, the only tribute to the 273 victims is a modest banner near the crash site — a quiet reminder of the lives lost.
Nico Charisse had a unique upbringing. Born to Cyd and her first husband, Nico Sr., a much older dance instructor, Nico Jr. was unofficially adopted by Tony Martin when he married Cyd in 1948. He grew up with a younger half-brother, Tony Martin Jr., and a loving, stable set of parents — a rarity in Hollywood.
In the late 1960s, Nico met Sheila Marie Snodgrass. They married, and life seemed bright. Nico passed the California Bar in 1977 and was beginning his legal career. But only two years later, everything changed when Sheila died in Flight 191.
The crash didn’t just take lives — it left an emotional wound on Cyd Charisse and her family that never fully healed. It served as a sobering reminder that even those who live surrounded by Hollywood glamour experience deep and devastating loss.
Cyd Charisse’s final days
Cyd Charisse died on June 17, 2008, at the age of 86, after suffering a heart attack.
Her death marked the closing of an era, but her influence remains powerful. She wasn’t just another performer — she reshaped what it meant to be a woman in Hollywood dance. She wasn’t merely a background performer; she became the emotional and visual center of many of her films. Her artistry combined athletic strength, delicate grace, and expressive storytelling.
Even decades later, audiences and critics continue to admire the spellbinding quality of her work.