Tap

First there is great dance. This has a good collection of virtuoso tap dance scenes. I am not an expert on tap; these are good dancers. A cameo by Sammy Davis Jr. Secondly, the love scene really moved me. It is understated, yet it brought me back to my younger days. Overall, the film has a simple and solid story. There is a child whose role enhances the adult story. The "gangster" parts may seem weak--this is not "Goodfellas". But they do the job to balance out the sentimental stuff. The water dripping...perhaps it is not quite a metaphor. But it is the foundation for a rhythm, a rhythm that ties the sordid part of the protagonists life (prison) with an opportunity to break free from the underworld. Gregory Hines plays the role of a man who needs to decide what he really wants. He has an idea for a creative venture. He can have the meaningful relationship that has eluded him. That would be with the redoubtable woman admirably played by Suzzanne Douglass. Always there is the pull of his past criminal ties. I really identified with all of the characters in this charming film.

Max is the son of Sonny, who was a great tap dancer. Max has inherited his father's talent but there are few opportunities to use it, so he has had to turn to crime. The big question: will he be able to go straight using his talent? The dancing is what makes this movie work, but Sammy Davis Jr. gives a wonderful performance as a washed-up dancer, and Sandman Sims makes an impact as a cynical former dancer who doesn't think much of today's music and dance. Gregory Hines does a capable job too. Savion Glover is also quite good as Amy's son. Suzzanne Douglass is good as dance teacher Amy.

At the time this movie was made, Gregory Hines must surely have been the best living tap dancer. If he wasn't, one of his co-stars probably was. In one of the movie's most memorable scenes, Max comments that the old men don't have the ability any more. They take this as a challenge and display incredible talent. Little Mo and Max actually have a duel of sorts, much like the Arthur Smith composition adapted as 'Dueling Banjos' for 'Deliverance'.

Another great scene is the one where Max shows where he got his ideas for routines by dancing in the streets of New York while construction is going on.

And there is the scene where 11-year-old Lewis is teaching Amy's dance class above Sonny's.

There was plenty of good music here, but surprisingly, a lot of the dancing was done without music--though what I like most about tap is the music made by the dancers, much like the percussion style of Buddy Rich. I especially liked the arrangement of 'Cheek to Cheek' which started out as elevator music when Max and Amy were dancing ballroom style, but changed over to jazz when they switched to tap. I wasn't crazy about attempts to make tap more hip by adding special equipment to shoes so the dancing could be heard with rock music, but it made the movie interesting.

This was worth seeing.

This is a fine performance by Gregory Hines as a extremely talented tap dancer who also uses his flexibility and physical agility to be a cat burglar and comes to a crossroad in his life. Sammy Davis Jr. is also very good as an elder hoofer(tap dancer) who is trying to convince him to do the right thing.

This movie showed the extreme talent of Gregory Hines, Sammy Davis Jr. and all of the fine old hoofers. It also shows that even though you may get older you still have to keep your legs. Tap dancing is a very demanding art.

The writers didn't exactly deliver a Ginger/Fred script but the occasion of this movie was probably just in time to get Sammy when his moves were still with us. And it's not obvious to some, but Sam had all kinds of moves, some in the acting realm. He was very smooth.