Chantez, dansez, mes belles!

Considering the fact that Lucille Ball has the third name in this movie, she has a very noticeable role that proves she is a great actress. Of course, everybody knows that Lucille Ball is best known for her character in "I Love Lucy," but watching this movie would really surprise you. She does a terrific job as a vain and conceited girl who wants to be on top of everyone. Not to mention, she is very attractive and alluring in this movie. I personally believe that this movie focuses a great deal on Lucille Ball, and that's the best part. "Dance, Girl, Dance" would probably be one of the few movies, where Lucille Ball fans can actually see her terrific talent as an actress on the big screens and on television.

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.

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.

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.