Añade un argumento en tu idiomaAfter a troupe of danseuses becomes unemployed, one of them takes up burlesque dancing while another dreams of performing ballet.After a troupe of danseuses becomes unemployed, one of them takes up burlesque dancing while another dreams of performing ballet.After a troupe of danseuses becomes unemployed, one of them takes up burlesque dancing while another dreams of performing ballet.
- Dirección
- Guión
- Reparto principal
- Premios
- 1 premio en total
- The Ballerina
- (as Vivian Fay)
Reseñas destacadas
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.
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.
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.
¿Sabías que...?
- CuriosidadesLucille Ball and Maureen O'Hara became inseparable friends while shooting this film, and remained lifelong friends until Ball's death in 1989. O'Hara was having lunch with her when Ball first saw her future husband Desi Arnaz.
- Citas
Judy O'Brien: Go on, laugh, get your money's worth. No-one's going to hurt you. I know you want me to tear my clothes off so you can look your fifty cents' worth. Fifty cents for the privilege of staring at a girl the way your wives won't let you. What do you suppose we think of you up here with your silly smirks your mothers would be ashamed of? We know it'd the thing of the moment for the dress suits to come and laugh at us too. We'd laugh right back at the lot of you, only we're paid to let you sit there and roll your eyes and make your screamingly clever remarks. What's it for? So you can go home when the show's over, strut before your wives and sweethearts and play at being the stronger sex for a minute? I'm sure they see through you. I'm sure they see through you just like we do!
- ConexionesFeatured in Gotta Dance, Gotta Sing (1982)
- Banda sonoraBeer Barrel Polka
(uncredited)
aka "Roll Out the Barrel"
Music by Jaromir Vejvoda
Lyrics by Wladimir A. Timm (song Skoda lásky)
English lyrics by Lew Brown
Played at the Palais Royale Club
Danced and sung by Lucille Ball and the chorus girls
Selecciones populares
- How long is Dance, Girl, Dance?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- Títulos en diferentes países
- Balla, noia, balla
- Localizaciones del rodaje
- Empresa productora
- Ver más compañías en los créditos en IMDbPro
- Duración1 hora 30 minutos
- Color
- Relación de aspecto
- 1.37 : 1