Dirty Dancing

Before the Beatles came and before Kennedy was shot, during the summer of 1963, the Houseman family travels to a resort on the borders of New York for a much-needed vacation. At Max Kellerman’s, played by Jack Weston, sizable property on a lake, filled with cabins and greenery and fancy dining rooms and ballrooms, so many classes are held to keep the guests busy. The employees are called “the dance people” who are tasked to attend to solo vacationers, to keep them feeling included and happy – and to sell lessons. However, they’re clearly warned to follow to the limits of their horizon. “Keep your hands off!”

One dancer is Johnny Castle, played by the late Patrick Swayze, who takes every opportunity to show off on the dance floor. However, he’s frequently disciplined by supervisors, he still catches the attention of “Baby” Houseman, played by Jennifer Grey, who is immediately interested by his skills – along with his audacity. Mike Massie noted in his review, “It’s obvious she wants to be swept off her feet – literally – as she determines to master a few moves of her own.”

Massie continued, “From the opening pop song through to the proper mambos and the fast-paced rock, “Dirty Dancing” is instantly bumping, grooving with a perpetual, exceptional soundtrack and remarkable litheness from a collection of expert dancers. Curiously, the allure isn’t just from the sensual grinding and sharply choreographed twists and twirls;” Baby has an unusually admirable relationship with her father, played by Jerry Orbach, even if it takes up a relatively small amount of time (despite they have arguably the best scene together in the whole movie). They have that rare cinema partnership where she can communicate freely and ask for anything, mainly without judgment. Also, is directly involved with the center of the plot, which finds Baby substituting for professional dancer Penny, played by Cynthia Rhodes, requiring the newcomer to learn a complicated series of moves in just a few days.

Despite the story is simple and the majority of the 1987 film is comprised of montages, there’s an undeniable effort put into the abundance of romantic scenarios. Massie said, “From the specifics of the mambo to lifts practiced in the water to a quiet car ride, Baby’s timid, naive, fish-out-of-water persona is a sensational match for Johnny’s confidence and charisma and intermittent pessimism (the good girl and the bad boy pairing). It’s engaging and believable, merging the fantasy of a whirlwind romance with the darker realism of taboo topics (from abortions to the truths about class warfare); tragedy and heartbreak lurks just around the corner of every embrace. But the peaceful moments of slow dances and cuddling are quite endearing. It’s a very convincing love story, even when it follows formulaic patterns.” Of course, the finale puts this film over the top, concluding in a large crowd-pleasing talent-show finale – a return to complete fantasy but one that is extraordinarily honest and joyous and momentous.

This is a good dance movie for everyone to watch. With everything that goes on, it will be one of those films that leaves you with a good feeling. There’s also the famous line, “Nobody puts Baby in a corner.” If you haven’t seen it, you should. You will love this movie, I promise.

Unfortunately, there was a 2004 horrible prequel, “Dirty Dancing: Havana Nights.” How do you write a review for a movie that unashamedly shatters the memory of is reasonably famous and beloved predecessor? The answer: with venom. Call it corny, but 1987’s “Dirty Dancing” was also a hip, endlessly entertaining musical romance with rhythm that got you to care about its two star-crossed lovers and their dilemma. Dustin Putman said in his review, “In the name of all things that is money, "Dirty Dancing: Havana Nights" is a prequel-cum-loose-remake that is nothing more than a cheap, contemptible ploy to cash in on a well-known title. The abandon with which director Guy Ferland takes in destroying all that was so charming and exuberant about the original is equal parts disgraceful and mind-blowing.” The man may not have talent (he doesn’t prove that here), but he sure has guts.

Mainly set during the months leading up to the Cuban Revolution on New Year’s Eve 1958, Katey Vendetto, played by Romola Garai, is an American high school senior who has been suddenly transported to Cuba with her family while her dad takes a job. Romantic fate comes to Katey when she meets Javier Sanchez, played by Diego Luna, a busboy at her hotel who attracts her with his Latin dance moves. Katey is not the best dancer, but with the convincing of dance instructor Johnny Castle (Patrick Swayze) and the help of Javier, she and Javier enter a dance contest. For Katey’s uptight mother, Jeannie, played by Sela Ward, her romantic socializing with the lower-class is unacceptable.

Putman said, “Written by Victoria Arch and Boaz Yakin, "Dirty Dancing: Havana Nights" is alarmingly horrid, far worse that one could even imagine a retelling of the story to be.” Despite “Dirty Dancing” had the formidable talents and partnership of Jennifer Grey and Patrick Swayze to work with, “Dirty Dancing: Havana Nights” has been monstrously miscast with the British Romola Garai and the slightly built, sissy Diego Luna filling in. Putman said, “Garai may have appeal in a better film, but with Katey she is stuck with a dull character that has no depth and shows no growth outside of the plainly superficial.” Meanwhile, Luna embarrasses himself. He’s not necessarily bad, but he just does not have to physique and tempting leading man qualities required for the role. The chemistry between Garai and Luna is transparent. Putman said, “their romance has the heat and passion one would imagine a killer whale and a small dog to likely have.”

Putman continued, “In place of the fun, eclectic period music mixed with current pop tunes that drifted throughout "Dirty Dancing," "Dirty Dancing: Havana Nights" offers up anemic, instantly forgettable salsa music intercut with out-of-place rap. The choreography also lacks energy. And in the place of Baby's sharply written family members, led by respectable character actor Jerry Orbach, we are given stereotypes this time around: a shrewish mother who, of course, was once an excellent dancer and needs only the inspiration of Katey to recapture her passion.” A loyal father (John Slattery) who stands by to calm down his wife, and a younger sister, Susie (Mike Boorem), who looks up to her older sister because the script pages tell her to. Other supporting characters include wealthy American classmate James Phelps (Jonathan Jackson), who Katey starts to like until he conveniently tries to force himself on her, and the snooty Eve (January Jones), who the movie takes great lengths to set up before she completely and strangely disappears after the first thirty minutes.

The climax, set at the dance contest on New Year’s Eve, is atrocious in its beginning and finishing. At Katey and Javier take to the stage in a moment of courage and victory as Katey’s family looks on, the y are cut short by the start of the Cuban Revolution. If ever there was a bad idea to have in what is essentially a happy musical, that is it. Putman said, “The film's half-hearted, watered-down attempt to add political intrigue and resonance to a motion picture that didn't need it is bewildering and borderline-offensive. Not only that, but it digs itself even further into a hole when it should be gaining momentum for an electric, inspiring, music-laden finale. Whereas "Dirty Dancing" concluded with toe-tapping finesse and left you light on your feet, "Dirty Dancing: Havana Nights" barely escapes with even a whimper.”

In an extended cameo, Patrick Swayze shows up to dance with Katey and give her advice. Putman said, “The second he appeared on screen, the audience jumped awake long enough to roar with applause and cheers at a charismatic man who could act circles around these low-rent knockoffs any day of the week. It also brings me to wonder: If Swayze's appearance and the feeling of familiarity were all that viewers wished for—and a continuation just had to be made—then why couldn't they have simply reunited he and Jennifer Grey for a sequel?” Not only might it have recaptured the magic of their onscreen chemistry, but it also could have revived some acting careers. Putman ended his review by saying, “It certainly would have been better than "Dirty Dancing: Havana Nights," a hatefully shallow, condescending waste of celluloid that will be long forgotten by next week while the original "Dirty Dancing" continues to thrive for decades to come.”

I think I saw both movies on Netflix and I liked the original, but I regretted ever pressing play on this prequel. There is nothing good in this movie and I don’t recommend this one at all. Instead, I say to avoid this one at all cost. Both movies are streaming on Hulu, but only see the original. This prequel should never be watched by anyone because it is just downright terrible and shames the original in every way.

Very sorry for the late posting. I was getting ready to write this when I was called to help out with some stuff. Next week, I will be ending “Dance Month” with a good movie that everyone should watch that has some nice toe-tapping numbers.