It_s so hard to forget pain but it's even harder to remember sweetness.
It_s so hard to forget pain but it's even harder to remember sweetness. We have no scar to show for happinessIt_s so hard to forget pain but it's even harder to remember sweetness. We have no scar to show for happinessIt_s so hard to forget pain but it's even harder to remember sweetness. We have no scar to show for happinessIt_s so hard to forget pain but it's even harder to remember sweetness. We have no scar to show for happiness
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Cutest baby girl dancing in indian Song
Dance, Girl, Dance is taken from an original story by Grand Hotel author Vicki Baum, and concerns a group of ambitious dancers led by Bubbles (Ball), whose chief talents lie in her transient appeal to men; and Judy, a dreamer who wants to learn the ballet, finds herself as a stooge in burlesque, and who chrysalises into a feminist icon by the film’s end, a true “movie Amazon” (2).
Like Vicki Baum’s earlier original story for Grand Hotel, Dance, Girl, Dance puts memorable and strong female characters on the screen with hopes, dreams, and aspirations – in the earlier film Greta Garbo played Grusinskaya, the Russian ballerina with romance in her heart (echoed both by the innocence and fantasy of Judy; and her older mentor, the mannish Madame Basilova); while Joan Crawford played a chiselling stenographer who collected men like flypaper. There is also the charming but hopeless rich man – while in Grand Hotel it was John Barrymore playing a Baron, in Dance, Girl, Dance, it is Louis Hayward as Jimmie, a momentary distraction for both Bubbles and Judy.
Dance, Girl, Dance is a milestone in the dance film and musical, despite its B-movie production values (featuring lots of back projection). Key sequences which demand critical attention include Judy’s attempt to be a hula dancer, stunningly upstaged by the sexy wiggles of Bubbles, and the burlesque routine which gives Bubbles her biggest chance to shine, “Mother, What Do I Do Now?” Hollywood also shows us classical ballet, with an extended routine choreographed by Steve Adams (Bellamy) – relying on the assumption that classical ballet/high art is not as appealing as good old low-down burlesque, regardless of how much money and talent is thrown into the “art” pot. While it may have made use of the resources from Fred and Ginger’s RKO musicals, the ballet sequence looks flat against the earthy sexiness of Bubbles’ hula dance.
Judy’s most stunning set piece, a speech near the end berating the men who go to watch strippers on the burlesque stage, could be considered as a barbed attack on the movie audience – after all, part of the Hollywood myth was the objectification of women, and despite Arzner’s input, Dance, Girl, Dance is as guilty of this as any other film of the period. Romance is provided by the playboy, Jimmie, who meets the girls and steals Judy’s heart before rejecting her for having blue eyes. Hard-hearted Bubbles accepts a toy figure of Ferdinand the Bull (product placement for
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