Dance, Girl, Dance

This film followed the delightful film "Stage Door" by only three years. Perhaps that is why Bosley Crowther wrote for the New York Times that it is "just a cliché-ridden, garbled repetition of the story of the aches and pains in a dancer's rise to fame and fortune." The film was a financial failure. But I disagree with Crowther. Though it is difficult to live up to the quality of "Stage Door", this film stands on its own and merits attention. And it is very entertaining.

Unlike the earlier film, Lucille Ball is a huge part of "Dance, Girl, Dance", playing a burlesque star named Bubbles with panache and charisma. In sharp contrast, Maureen O'Hara plays the role of Judy O'Brien-a dancer who longs to perform serious ballet. Both women are strong in their roles, though O'Brien does not perform her character's most demanding dance moves.

Much has been written about the influence and effect of director Dorothy Arzner on this film. Much of that is overstatement and revisionism. But the director gives us some terrific close-ups of the characters in this film, something many directors don't do enough of.

Also deserving mention are the lighting and the costuming.

Watch for Maria Ousopenskaya in a brief but strong performance as the ballet mistress/manager whose life is dedicated to dance.

And watch for the speech in the courtroom scene. It outshines the earlier speech where Judy addresses the burlesque audience, though the latter speech is often lauded.

More than anything else, this film has a lot to say about tabloid journalism. And it says it well.

In some ways, the plot to "Dance, Girl, Dance" is a lot of nonsense. After all, if you are looking for a realistic movie that could happen on this planet, you'd better keep looking. However, if you can accept the film for the campy picture that it is, it is quite enjoyable.

The film begins with a dance troop. Their performance is interrupted by a police raid and they appear to be out of work when a nice guy (Louis Hayward) encourages the patrons to pay the girls for that show. He then shows a lot of interest in Judy (Maureen O'Hara), but the super self-absorbed Bubbles (Lucille Ball) steals the guy and goes off on a date with him. Although the date turns out to be a bit of a bust, this is the pattern that would continue throughout the film. In other words, although Judy is a nice person and the most talented dancer, Bubbles would routinely step in and hog all the glory. And, in the world of dancing, Bubbles ego-centrism really helps her make a splash with a new job--doing a dance that is only a step or two better than being a stripper. Later, she gets Judy a job--but only in a very subordinate role which is meant to be laughed at by the audience! There is far, far more to the movie than this.

The best way to describe it is to compare it to two movies--one old, one rather new. It reminds me of a Bette Davis/Miriam Hopkins film called "Old Acquaintance". The two are friends but repeatedly, the one 'friend' takes all the glory and treats her friend poorly. This continues throughout the film until finally the put-upon friend has had enough and she realizes that this friendship just isn't worth it--and finally tells her off. The other film is "Showgirls". While I've never seen all of this trashy film, the behind the scenes backstabbing and egos are clearly evident in both films. Overall, "Dance, Girl, Dance" is entertaining and the ending is pretty satisfying. However, don't expect a film that is particularly realistic or that seems even remotely plausible--though both actresses did a nice job in their respective roles.

Of all Maureen O'hara's pictures, this is definitely one of her best. How good would Lucille Ball have been as the streetwise floozy without Maureen's counter-role as a decent and moral girl struggling to overcome obstacles to fulfill her dream of becoming a dancer. Not once does her performance stray into the realm of treacle, her character, though perhaps a little naive never becomes timid to the point where she can't take care of herself in the clutch. She handles Lucy quite admirably in the latter stages of this film. Tis true Lucille Ball does her fair share of scene stealing and her performance is effective, but this is still Maureen's picture all the way. Also good performances by Louis Hayward (his only good role?) and Ralph Bellamy ensure this movie is well worth sitting through.

Dance, Girl, Dance (1940)

This competent if unremarkable film was directed by Dorothy Arzner, Hollywood's one female director of note between the silent years and Ida Lupino. It's a package of different kinds of dance numbers, from show girl to burlesque to high art ballet. The thread that keeps it going is the usual: girls trying to make it in one show or another.

Lucille Ball, famous for her television shows of the 1950s and 60s, might seem to be making an early appearance in this 1940 song and dance drama. But she had made fifty (fifty!) films before this one. She's no a remarkable dancer by any means, nor singer, but she has personality to spare, and she's fun, period. She plays the worldly girl who will dance anywhere, anyhow. In contrast is the Maureen O'Hara character, sweet and restrained. She's rather humiliated in the movie, and you can feel her pain, but it's a forced contrast.

Musical numbers intersperse the thin plot, and those might or might not be your taste. I found even the ballet, which looked like a serious ballet troupe in action, pedestrian. And it was poorly filmed: the camera sat at the edge of the stage and watched. In truth, the movie as a whole was functional, not reaching for the stars, and not getting any. The one surprise, for me, was the ease and presence of Louis Hayward as a kind of good guy leading man who appeared now and then to properly show his love for O'Hara's struggling character.

I love classical Hollywood as much as anyone I know, but I am also aware that the films are often mechanical and emotionally distant. Very few reach the level of Dance, Girl, Dance. The plot is great. It is not exactly original, but it seemed that way to me. I was entirely hypnotized. This is due to the direction, characterizations, and acting. This is one of the few Hollywood films of the era directed by a woman, Dorothy Arzner. Generally, you can't tell this fact, except for in the climactic scene of the film, where Maureen O'Hara delivers a powerful feminist speech. The direction is amazing, but it's definitely subtle and sometimes hard to catch. All the characters in this film, especially the lead two, are very well realized. They're people, and we believed them. The acting is the best of all. Lucille Ball may be best known for her television show, but she was a great movie actress, as well. I can't say that I've seen too many of her films, but it would shock me if she was ever better than she is in Dance, Girl, Dance. She is the spark of the film, and Maureen O'Hara is the emotional core. I think that her part represents one of the best female characters to be found in the cinema. O'Hara is simply fabulous as a ballet dancer who has to lower her artistic standards to make a living. And, like I mentioned before, listen for that speech she gives near the end of the film. I hadn't heard of this film before. I had never heard of Dorothy Arzner. I love the feeling that I've made a major cinematic discovery. This is most definitely one of those. 10/10.