George Bernard Shaw famously remarked that dancing is "the vertical expression of a horizontal desire legalized by music." For proof, just watch this Fred Astaire and Ginger Rogers scene from the 1934 film "Night and Day."
I love Toni Bentley's analysis of this dance in her New York Times review of Kathleen Riley's The Astaires: Fred & Adele (OUP): "Put down the Kama Sutra and its impossible acrobatics," writes Bentley. "Rent The Gay Divorcee and watch Astaire seduce a resistant Rogers, transforming her from a feisty, fast-talking, fast-walking, too-good-for-you dame into a dewy-eyed ingénue, slowed and silenced by love." She continues:
In the Cole Porter number “Night and Day,” Astaire pursues her about the dance floor with the wit of changing rhythms, sometimes syncopated, sometimes right on the beat, sometimes pausing to breathe the moment. He chases her, coaxes her, mirrors her, challenges her and goes hip to hip with her. He even spoons her, vertically. She isn’t sure, she turns away, she reconsiders, gives a little, gives a little more, then, overcome, bends backward and surrenders completely to the rhythm, the moment and the man. He flips her around, catches her, sends her off spinning alone only to meet her, unexpectedly, when she slows, pulls her in tight and takes her into a thrilling crescendo, then to a fantastically casual ending, as if to say, “That? Oh, that was nothing,” his modesty after brilliance his most disarming charm . . . As “Night and Day” closes, Astaire lands Rogers gently on a steep incline — she’s mesmerized by the magician who just took her on the ride of her life — bends over her suggestively, pulls back and says, “Cigarette?”