Baila, muchacha, baila

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.

As one of the industry's few female directors, Dorothy Arzner's participation in this film is, I would guess, the main reason this movie is still known today. One wonders what Arzner could have accomplished if she lived in today's times, free of studio intervention. Arzner was able to direct this when Roy del Ruth had problems with the producer, Erich Pommer, and left.

The story is about two dancers - one a burlesque queen (Lucille Ball) and one an aspiring ballerina (Maureen O'Hara) -- commercialism versus art. Bubbles (Ball) goes for the money both in her work and in her search for a man, while Judy (O'Hara) attempts to be independent, even turning down Ralph Bellamy when he wants her to stand under his umbrella in the pouring rain.

The lives of these two women intertwine in work and in personal life -- Judy becomes a "stooge," a ballet dancing set-up as the burlesque audience screams for Bubbles; and they both take up with the same man, Jimmy (Louis Hayward) who's rich and conflicted. Judy understands him; Bubbles understands his wallet.

The cast is wonderful, with the O'Hara as a gentle, refined woman with the soul of an artist and accompanying sensitivity, and Ball as a classless sex bomb with a flashy personality. Both are gorgeous and play off one another beautifully.

The men make less of an impression -- this is, after all, a woman's picture. Louis Hayward as a tortured man going through a divorce somehow disrupts the flow of the film; and Ralph Bellamy is charming but doesn't have much to do.

A little slow but very entertaining and well worth seeing. Dorothy Arzner was a remarkable woman who survived in a man's world and made some excellent films, finishing her career as a teacher at UCLA. Her work is definitely worth checking out.

A really fun film that I found in my Maureen O'Hara TCM 4-pack that I highly recommend if you enjoy films from that era. I like the two films I've seen so far from Arzner, who was one of the earliest and most successful of female directors and I believe the first openly lesbian one--the other work I've seen of hers is the great pre-Code look at alcoholism, 'Merrily We Go to Hell'.

This is great if you either like musicals from the era, are a Maureen O'Hara or Lucille Ball enthusiast (holy, she was unbelievably a knockout in her early filmic days!) or are simply curious about the works of early female and/or lesbian directors. Arzner--at least in the two films I have seen from her thus far--showed she truly deserved to be successful in the industry.

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.

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.