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Showing posts with label Penny Johnson. Show all posts
Showing posts with label Penny Johnson. Show all posts

Sunday, January 28, 2018

Johnny's Initial Sarcasm That Baby Is "Miss Fix-It"

During the movie Dirty Dancing, Johnny Castle's attitude toward Baby Houseman evolves from his sarcasm that she is a "Miss Fix-It" to his appreciation that she is a person who is "willing to stand up for other people no matter what it costs her".

In this post here, I will analyze Johnny's initial, sarcastic put-down that she is a "Miss Fix-It". He gives her that nickname in the scene where Baby gives the abortion movie to Penny Johnson. Watch the below video beginning at 1:07.

Johnny Castle
Yeah it takes a real saint to ask Daddy.

Penny Johnson
Thanks, Baby, but I can't use it.

Johnny Castle
What? What's the matter with you? You should take the money.

Billy Kostecki
(Addressing Baby)
I can only get her an appointment for Thursday.

They do their act at the Sheldrake on Thursday night. If they cancel, they lose this season's salary and next year's gig.

Baby Houseman
What's the Sheldrake?

Billy Kostecki
It's another hotel where they do their mambo act.

Baby Houseman
Can't someone else fill in?

Johnny Castle
No, Miss Fix-It. Somebody else can't fill in. ....
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There are two problems in arranging an abortion for Penny.
1) The abortion costs $250 that Penny does not have.

2) The abortion will conflict in time with the Sheldrake performance.
Baby has just fixed the first problem and now suggests a fix for the second problem.

Johnny is resentful because Baby has the resources, practicality and initiative to fix problems that he himself has not been able to fix.

Penny and Billy, however, immediately recognize Baby's practical fix, which is that someone else could fill in for Penny at the Sheldrake. Johnny is compelled to go along with Baby's proposed fix -- and furthermore to train Baby as Penny's substitute.

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Johnny's resentment about Baby's practicality began already earlier in the story. When Johnny, Baby and Billy are going to the kitchen to help Penny, Baby asks Billy a practical question: what is Johnny going to do about Penny's pregnancy?:
Baby Houseman
So, what's wrong? What's the matter with her?

Billy Kosetecki
She's knocked up, Baby.

Johnny Castle
Billy!

Baby Houseman
(Addressing Billy)
What's he [Johnny] going to do about it?

Johnny Castle
What's he gonna do about it? Oh, it's mine, right? Right away you think it's mine.
Here Johnny is changing the subject. He has no idea of what he might do about Penny's pregnancy, so he changes the subject to blaming Baby for implying mistakenly that he caused the pregnancy.

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Baby is a practical person. When she sees a problem that she might be able to solve -- or at least help to solve -- she takes practical steps to do so. If she can get some money from her father, she does so. If she thinks someone else might fill in for Penny, she suggests the idea.

Baby intends to obtain a higher education to learn how to study big social problems and to develop and administer solutions.

Baby is following the example of her father, who obtained a higher education in medicine to become a doctor who provides practical help to people with health problems.

In contrast, Johnny is an entertainer. He does not aspire to solve significant problems of other people.

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In an earlier post, titled My Sociological Criticism of Dirty Dancing, I wrote:
The Houseman family conformed to the social conventions that worked well during the 1950s and early 1960s. The men attended universities and the developed professional careers. The women married and managed households that raised children to follow those conventions. Such families prospered.

Other characters in the movie followed the same conventions, although sometimes less than perfectly. Neil Kellerman attended a School of Hotel Management and was trying to find a suitable marriage partner. Robbie Gould attended Yale Medical School and dumped a girlfriend who turned out to be not suitable as a marriage partner.

The movie's major characters who failed to follow the social conventions were Johnny Castle and Penny Johnson, who were struggling to make their livings as professional dancers. Neither of them had obtained a higher education as their basis for developing their careers. Neither of them -- while already in their mid-twenties -- were orienting themselves toward marriage and children.

Johnny and Penny are artists who are struggling professionally and personally. Their economic futures seem bleak. Johnny might have to go back to painting and plastering houses. Penny suffered a close call with an unmarried pregnancy. Johnny and Penny feel intellectually inadequate and lack social self-confidence
Johnny resented the success that the Houseman family enjoyed by conforming to the social conventions. The Housemans either obtained higher educations or devoted themselves to becoming supportive wives and mothers. The Housemans prospered by fixing problems.

Because Jake Houseman had become a doctor, he earned enough money to give $250 to his daughter for some unexplained reason. Because Baby was a trusted daughter of such a prosperous father, she could use his wealth as a resource to fix problems.

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As the story continues, Johnny does not decide that he should follow the Houseman family's example, but he does come to respect the family's capabilities and conduct.

On the other hand, the Houseman family -- especially Jake -- comes to respect the capabilities and conduct of the struggling artists -- Johnny and Penny.

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From the movie's beginning, Billy respects the Houseman family. Billy sees Max Kellerman praise and honor the family when the family arrives at the resort.

Billy never treats Baby disrespectfully -- as the artists Johnny and Penny treat her. Billy supports all of Baby's intentions, suggestions and efforts.

Billy is an intermediary between the story's conventional families and struggling artists. He is employed to help the resort's guest families and to help also the resort's artists. Billy too is a practical fixer of problems, and so he appreciates Baby's being a practical fixer of problems.

Monday, January 15, 2018

My Review of the Stage Musical -- Romance

This post is the third in a series, following:

1) My Review of the Stage Musical -- General

2) My Review of the Stage Musical -- Race

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In this post I will write about a series of romantic relationships, in which the movie and stage musical differ.

1) Billy Kostecki and Elizabeth

2) Jake and Marjorie Houseman

3) Neil Kellerman and Baby Houseman

4) Johnny Castle and Baby Houseman

Other relationships -- involving Lisa Houseman, Penny Johnson, Robbie Gould, Lisa Houseman and Vivian Pressman -- are essentially similar in the movie and musical.

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Billy Kostecki and Elizabeth

In my previous article about the musical's race aspect, I pointed out that Billy frequently sings with a Negro female co-worker. I perceived that he looks at her longingly, but I did not notice his saying anything romantic to her. According to the musical's program, the character is called Elizabeth.

In an earlier post titled The Resort Hotel's Employees, I reported -- based on Eleanor Bergstein's commentary in a DVD -- that the an early draft of the movie's story was supposed to include a scene showing that Negroes were allowed to use the resort's swimming pool along with Caucasians.
When the producers were selecting a resort as a location for the movie, they looked for a resort with a swimming pool, because the movie was supposed to show that the swimming pool was racially integrated. The author Eleanor Bergstein in her running commentary mentioned that the Jewish-owned resorts racially integrated their swimming pools before the other resorts did so, so apparently her original script included a reference to that fact.

However, the producers could not find an available resort with a swimming pool (we do see guests swimming in a lake). Therefore none of the movie’s dialogue refers to the racial integration of the swimming pool, although the dialogue refers several times to the Civil Rights movement that was developing in the South in the early 1960s. We can suppose that the African-Americans in the planned swimming-pool scene would have been the orchestra members, who were idle during the days.
Based on the stage musical, I now speculate further that the swimming pool scene was supposed to introduce a subplot about a romantic relationship between Caucasian Billy and Negro Elizabeth.

(In 1963 the polite words were Caucasian and Negro, and so I use them here.)

If there was some relationship between Billy and Elizabeth, then perhaps Elizabeth was involved somehow in Billy helping Penny getting an abortion. Below is my list of speculations.
* Elizabeth told Billy about the abortionist in New Paltz.

* Elizabeth herself or a close relative or friend had had an abortion.

* Elizabeth remarked that Negroes were disadvantaged in getting legal abortions.

* Elizabeth helped cover for Billy or Penny while they were gone from work for an entire day.
The Billy-Elizabeth subplot was eliminated, however, as clutter around the time that the producers failed to find a resort with a swimming pool.

Years later, when Bergstein had the opportunity to retell her story as a musical, she restored Elizabeth into the story. Elizabeth sings with Billy, and he seems to be attracted to her, but their relationship is not elaborated further in the musical.

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Jake and Marjorie Houseman

Marjorie Houseman is much more prominent in the musical than in the movie.

They have a long conversation while they are playing golf. Unfortunately, I did not grasp that conversation's essence. I perceived that there was some tension between them. They seemed to be making biting remarks at each other.

(I did not take notes or record sound while I was watching the musical. I do not have access to the musical's script. Although the musical's sound system was superb, my hearing is becoming worse, and I could not understand every word. My account of the dialogue is based only on my memory and might be mistaken in some details.)

My perception might be based on the ABC original movie, in which they are approaching a divorce.

After Penny recovers from her abortion in the musical, she is so grateful to the entire Houseman family that she takes the initiative to give private dance lessons to Marjorie. During such a lesson, Penny mentions that Jake had treated her after her an abortion. Penny assumes that Marjorie knew about this, but Marjorie knew nothing until Penny mentioned it.

Marjorie is angry that Jake has kept this secret from her, and so she goes and confronts Jake about it.

Afterwards Marjorie confronts Baby. This scene in the musical is similar to a scene that was filmed for the movie but was deleted (8:17 to 9:02 in the following video).


In both the movie and the musical, Marjorie insinuates that Baby's actions have been wrecking the Houseman family. This insinuation makes much more sense when we understand that Marjorie fears that her marriage might be breaking apart.

Since all the marriage problems have been removed from the movie, Marjorie's insinuation is puzzling. How exactly has Baby been "wrecking everyone else's lives"? As far as the movie audience can see, Baby has only disappointed her father by lying to him about the borrowed money. Even in regard to Jake, Baby has not wrecked anything.

In the musical, however, Baby has caused a serious argument between Marjorie and Baby, because Penny unwittingly revealed to Marjorie the secret of Jake's involvement in the abortion. Since Marjorie and Jake have been having marriage problems, this revelation might be the straw that breaks the camel's back of the marriage. In that regard, Baby might have wrecked her parents' marriage.

The scene deleted from the movie was a superb, and it was acted superbly by the actress Kelly Bishop, who played the character Marjorie. Since the marriage problems had been eliminated from the movie, however, Marjorie's insinuation that Baby was wrecking everyone else's lives no longer made sense. That might be why this superb scene was deleted.

The marriage trouble between Jake and Marjorie was removed from the movie but later was restored to the stage musical and to the ABC original movie.

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Neil Kellerman and Baby Houseman

During last September and October I wrote a series of articles called Baby Houseman's Inner Conflict about Femininity. In that series' sixth part, I re-evaluated the relationship between Baby and Neil:
In the first part of Dirty Dancing, the relationship between Baby Houseman and Neil Kellerman is friendly, even affectionate.

In the movie's last part, Neil becomes a rather negative character. Therefore, people who have watched the entire movie develop a false memory that he was a negative character in the first part too. People persist in this mistake even as they watch the movie many times.

Early in the movie, Baby and Neil dance and chat together in the ballroom. A couple days ago, I re-watched that scene three times, looking for indications that Baby felt uncomfortable with Neil. I was surprised to find that she obviously is enjoying her time with him in the ballroom. This realization has caused me to reconsider Baby's and Neil's relationship.

Now I recognize that Baby was using Neil as her practice boyfriend, also known as a starter boyfriend, without his knowing his status.

[....]

Baby decided to use Neil as a practice boyfriend because she is not sure how to be feminine naturally. She wants to see how an interested man talks and acts with her, and she wants to experiment with her responses. For her, this is fun, and she is happy to remain in an elementary flirting stage for a long time.

She strings Neil along slowly. As the week passes, she gradually allows him more freedom to kiss and embrace her. Eventually she even allows him to touch a breast briefly through her clothes during a night's final embrace.

Baby likes Neil as a friend. He has many admirable qualities. After Neil and Johnny argue about the pachanga dance, she advises Johnny to discuss the issue with Neil again. She knows that Neil is a reasonable and accommodating person.

Baby thinks that Neil learned useful lessons about female-male interactions from herself too. She expects that he eventually will become a good husband for some other woman.
That interpretation of mine has been confirmed by my watching the stage musical. In particular, the musical includes an important conversation among Baby, Neil and Johnny in the scene right after the "Love Is Strange" dance. Neil enters the dance room and begins talking about the talent show, the pechanga, and so forth.

During this conversation, they talk about politics. Baby admires Neil for his political activism, for his intention to travel to Mississippi to help promote civil rights for Negroes. Johnny scoffs, saying that he himself never has voted even once in his life. Baby is appalled by Johnny's lack of even interest.

Then, however, Neil reveals that he will not travel to Mississippi after all, because he as a manager should not be gone from the hotel for a couple of weeks. Now Baby is somewhat disappointed with Neil for subordinating his political activism to his professional career.

This conversation is important in the story, because it gives Baby a reason to shift her romantic affection from Neil completely to Johnny. Although Johnny is not interested in politics, Neil's interest is more talk than action.

In general, I perceived throughout the musical scattered indications that Baby was affectionate and respectful toward Neil. These indications are related to the scattered mentions that Neil intends to travel to Mississippi.

In contrast, the movie mentions Neil's intention only once, when Neil and Baby are dancing in the ballroom during her first night at the resort. In that single context, the mention seems to be merely an empty boast to impress idealistic Baby.

The musical's continuing mentions of Neil's intended Mississippi trip support Baby's affection and admiration toward Neil during the story. Her disappointment in him occurs near the story's end and occurs suddenly.

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Johnny Castle and Baby Houseman

In the stage musical that I saw, Baby dances more poorly and improves more slowly than in the movie.

The musical's program reports that the actress, Kaleigh Courts, has attended the Houston Ballet Academy and has performed as a member of the Houston Ballet, so the actress can dance superbly. She purposely dances poorly in the musical.

She continues to dance poorly through the "Hungry Eyes" and  "Hey, Baby" scenes. Only when she accomplishes the lift move in the lake does she seem to show improvement. Her dancing at the Sheldrake is likewise worse in the musical than in the movie. Her dancing during and after the "Love Is Strange" scene is about the same in the musical as in the movie.

Johnny's apparent affection for Baby corresponds to her dancing skill. In other words, his affection develops slower in the musical than in the movie. I didn't notice this difference in any dialogue. Rather, his coolness -- his iciness -- toward her is indicated by his body movements and voice tone.

Maybe other actors playing Johnny and Baby in other companies play their relationship differently. Maybe other actresses playing Baby dance better and maybe other actors playing Johnny speak more warmly. For the purpose of my article here, I must assume that the performance that I happened to see is the Baby-Johnny relationship that the stage musical is supposed to portray.

In the musical, the relationship develops more slowly, and so their decision to becomes sexual is more sudden and seems to be prompted by their mutual experience of seeing Penny in mortal danger after her abortion.

In the movie, they became gradually more affectionate while they are practicing for their Sheldrake performance. In the musical, they become suddenly more affection after they have become sexual, which they have done because they were upset about Penny.

Even after Baby has become sexual with Johnny, she still feels affectionate towards Neil. Only after Neil reveals that he will not travel to Mississippi after all, does Baby shift all her romantic attention to Johnny.

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I think that the musical's portrayal of the relationship among Baby, Neil and Johnny is closer to Bergstein's original concept than the movie is.

In the movie, Neil seems to be merely a tiresome creep, and so it is obvious that Baby should disdain him and prefer the exciting artist Johnny. Furthermore, the movie's Jewish subtext suggests that Baby feels pressured by her family to marry a Jewish man, like Neil.

In the musical, Baby continually admires Neil because of his political activism, which is symbolized continually by his intention to travel to Mississippi. In contrast, Baby is appalled that Johnny is so politically uninterested that he has never even voted. Therefore, Baby's dilemma about whether to select Neil or Johnny as her ultimate romantic interest is more conflicted. Her dilemma is resolved only when Neil reveals that he will not travel to Mississippi after all.

The removal of most of the racial aspect from the movie prevented the movie audience from understanding why Baby might admire Neil. The movie audience perceived Neil to be merely a tiresome creep.

The character Neil was played brilliantly as a tiresome creep by the actor Lonny Price, who furthermore is a rather short man. Perhaps the character Neil turned out to be more despised by the movie audience than Bergstein intended because of the decision to cast Price in the role and because of Price's brilliant performance of the role.

If my speculation that the musical's portrayal of the Baby-Neil-Johnny triangle is closer than the movie to Bergstein's original concept, then I judge her original concept to be the better story. In the musical, Baby is more conflicted about whether she should pursue a romantic relationship with a man like Neil or a man like Johnny.

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Most people love the movie Dirty Dancing so much that they reject reflexively other presentations of the story. This rejection happened especially in regard to the ABC original movie. (I have published two posts praising the ABC version and intend to publish two more.)

However, the movie is somewhat different from Bergstein's original story. The movie was addressed to an audience in the 1980s and had to be kept to a standard length and had to kept rather simple. Therefore, much of Bergstein's story was not included in the movie.

The other presentations -- the stage musical and the ABC original movie -- were for audiences in the 21st century. Those audiences are already very familiar with the movie's story and they live in a more multi-ethnic society. The story can be told more briskly, making time for the racial aspect and the Housemans' marriage trouble to be restored into Bergstein's story. The later presentations are closer than the movie to Bergstein's original concept of the story.

The stage musical has provided new insights into the roles of Billy, Jake, Marjorie, Neil and Johnny -- and therefore into the role of Baby.

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This series will continue:

4) My Review of the Stage Musical -- Comparison of Songs

Friday, December 8, 2017

Jake's Question, "Who's responsible for this girl?"

When Dr. Jake Houseman came to treat Penny Johnson in her cabin, Johnny Castle indicated that he was "responsible for this girl" (beginning at 0:55 in the following video clip).


Jake Houseman
Excuse me. Excuse me! Everybody clear out, please.

OK. Yes, I know that hurts. We're gonna take care of that.

Who's responsible for this girl?

Johnny Castle
I am. Please, is she ...?

Billy Kostecki
Doc, thanks a lot.

Johnny Castle
Dr. Houseman, I don't know how to thank you, to tell you ...
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Jake had seen Penny working at the hotel. He knew that she was an adult who worked for her living. When he came into her cabin, he saw that she was conscious and able to speak.

Why, then, did Jake immediately ask who was "responsible" for Penny? There were at least two reasons:
1) Since the hotel employed her, the hotel might have some rules about the provision of medical treatment to its employees.

2) Since Penny might lose consciousness soon, someone might have to approve, on Penny's behalf, Jake's decisions or recommendations.
As an experienced doctor, Jake knew that he was in a situation that might involve his own potential liability if Penny's condition turned worse after he began treateding her.

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However, there was another consideration that motivated Jake to ask his question. While his daughter Baby was bringing him to the cabin, she surely informed him that Penny was suffering the consequences of an illegal abortion. Given that information, Jake began to suspect whether Baby had asked him for $250 for that purpose.

Jake did not voice his suspicion to Baby right away. Rather, he waited to learn the situation in the cabin. If he learned who was responsible for Penny's abortion, then he might get a good clue about what Baby did with the $250 he gave her.

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Johnny identified himself as the responsible person in two senses.
1) Johnny, as the chief of the Entertainment Staff, was the official supervisor of Penny. For example, when Neil Kellerman, in the previous week, had wondered about Penny's absence from the dance in the gazebo, Neil had asked Johnny about Penny's whereabouts and had admonished Johnny to discipline her.

2) Johnny, as Penny's friend, had pressured Penny to get an abortion. Johnny had urged Penny to accept Baby's $250, and Johnny's cousin Billy Kostecki had arranged the abortion.
From the second sense, Jake deduced correctly that Johnny was involved -- was "responsible" -- in Penny's getting an abortion.

Neither Jake nor Johnny meant to communicate here about who had made Penny pregnant. Jake simply jumped to that conclusion because he -- like many others -- assumed that Johnny and Penny were a romantic couple.

Jake probably assumed also that Baby had been manipulated by Johnny and Penny to ask him for the money. Jake still had no idea that Baby alone had initiated her request for the money.

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As Jake and Baby left the cabin together, Jake voiced his conclusion that Baby gave his $250 to Johnny and Penny for the abortion.
Jake Houseman
Was that what my money paid for?

Baby Houseman
I'm sorry. I never meant to lie to you.

Jake Houseman
You're not the person I thought you were, Baby. I'm not sure who you are. I don't want you to have anything to do with those people again.

Baby Houseman
But can’t I just explain?

Jake Houseman
Nothing! You're to have nothing to do with them ever again! I won't tell your mother about this. Right now I'm going to bed. And take that stuff off your face before your mother sees you!
Baby intended to explain:
* Robbie had made Penny pregnant

* Robbie refused to help Penny pay for an abortion

* Penny did not have enough money to pay for an abortion.

* Penny could get an abortion quickly if she got the money.
That explanation would have been truthful, even if it had not satisfied Jake.

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Right after her father's prohibition, Baby went directly to Johnny's cabin in order to carry out her plan to seduce him. Baby was acting recklessly in regard to her father. She figured that her father eventually might find out that she was having sex with Johnny. No matter, she went and had sex with him.

Baby's private time with Johnny perhaps also gave her the opportunity to get their story straight in case Jake asked more questions.

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Neither Johnny nor Baby ever corrected Jake's mistaken assumption that Penny had become pregnant from Johnny. Baby easily could have corrected her father about that when she talked with him later -- in her "I'm sorry I lied" monologue.

Baby avoided talking with her father about who Penny was having sex with because Baby did not want any such conversation to get around to the question of who she herself was having sex with.
Baby Houseman
By the way, Daddy, Johnny did not have sex with Penny. She got pregnant from Robbie.

Jake Houseman
Thanks for correcting me about that, Baby. By the way, did Johnny have sex with you?
Baby avoided any such conversation with her father about the situation. She limited her conversation to her lying about why she asked for the money. She avoided talking about who was having sex with whom.

Wednesday, November 15, 2017

I think she gets it from me!

While Marjorie and Jake Houseman are watching Baby Houseman and Johnny Castle doing their final dance, Marjorie remarks to Jake:
I think she gets it from me!
In the following video clip, Marjorie's remark occurs at 1:20.



Marjorie seems to imply that Baby inherited her apparent dancing talent from Marjorie. The movie audience has not seen, however, any evidence that Marjorie herself has any dancing talent. Marjorie has been seen in four dancing situations:

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1) Marjorie is participating in a class for beginning dancers conducted by Penny Johnson.

The Houseman family taking a class for beginning dancers.
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2) During their first evening at the resort, Marjorie and Jake are dancing to orchestra music. Marjorie's dancing is not remarkable.

Marjorie's unremarkable dancing with Jake in the ballroom
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3) During a later evening, some guests are dancing in the gazebo. Marjorie and Jake are not dancing, because they are waiting for an "a waltz" -- a simple and slow dance.

Marjorie: "We're waiting for a waltz"
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4) On the last evening, after Baby and Johnny have performed their dance, Marjorie is seen dancing with Neil Kellerman. Marjorie's dancing is a simple boogie -- not remarkable.

Marjorie boogie-dancing with Neil

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Marjorie's remark makes a bad impression that she is ditzy and vain. At that point she has seen Baby performing her dance for only one minute, but that short time has sufficed to see that Baby is performing rather well. Marjorie's apparent conclusion that Baby's performance is due to Marjorie herself seems absurd.

It's possible that Eleanor Bergstein intended to make Marjorie look ditzy and vain. The Houseman family seems to comprise two contrasting groups:
1) Lisa and Marjorie are ditzy and vain.

2) Baby and Jake are thoughtful and modest.
However, Marjorie's remark is said during the movie's happy ending. I think that Bergstein intended the remark to make a better impression about Marjorie, but Bergstein's intention went awry.

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Important context for Marjorie's remark was deleted from the movie. A few hours before the talent show, Marjorie and Baby had a serious conversation in which Marjorie compared herself to Baby. The conversation was filmed, but the scene was deleted when the film was edited. In the following video, the deleted conversation can be seen between 8:17 and 9:02.


Baby Houseman
Ma, please, you don't understand.

Marjorie Houseman
No, Baby, you don't.

I know about this. I really know.

When I was your age, I was in love with someone else before your father. And when it ended, it hurt so bad I thought I'd die of it, but I didn't.

And I didn't wreck everyone else's lives in the process either.
Here, Marjorie compares her own seventeen-year-old self with seventeen-year-old Baby. Marjorie too suffered a painful break-up with a boyfriend.

Marjorie's remark she she didn't wreck everyone else's lives either is ambiguous. This remark might mean
* Marjorie did not wreck lives, but Baby is doing so.
... or else it might mean ...
* Marjorie did not wreck lives, and Baby likewise is not wrecking lives.
I think that the second meaning is the correct interpretation. Marjorie is reassuring Baby that Baby will get through this personal crisis and that the Houseman family too will survive this family crisis. However, Marjorie also is suggesting to Baby that Baby's crisis is affecting -- albeit not wrecking -- the family.

Marjorie is helping Baby to understand her crisis with a proper perspective.

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My key point here is that in this deleted scene Marjorie compared herself to Baby. Although the scene has been deleted, we should use it as important context for Marjorie's remark, just a few hours later, that I think she gets it from me!

In that sentence, Marjorie's word it does not refer mainly to Baby's dance skill, but rather to Baby's emotional strength.

Marjorie and Jake both are aware that Baby is suffering from her breakup with Johnny. Although Johnny has disrupted the talent show and has taken Baby up onto the stage, the breakup continues.

Johnny's speech gives Marjorie and Jake a new perspective on Baby's recent actions. Baby has not been "wrecking everyone else's lives". Rather, Baby has been standing up for other people and has been teaching Johnny to be a better person.

Then, despite the emotional pain that Baby has suffered -- and still is suffering -- from her breakup, Baby focuses on dancing well and keeps a smile on her face. Baby makes the whole Houseman family proud of her.

Baby privately has stood up for and taught other people, and now she publicly is displaying grit and courage. In that regard, Marjorie sees her own young self in Baby and feels proud that she has raised Baby to become such an admirable young adult.

That is why Marjorie -- a mother proud of her daughter -- exclaims I think she gets it from me!

Tuesday, November 7, 2017

My Speculations About the Talent Show in the Original Script

In order to convince Patrick Swayze to play the role of Johnny Castle in Dirty Dancing, the producers granted Swayze great authority in changing the script. By 1986, when the movie was filmed, he had played major roles in about a dozen movies. (His first major role was in Skatetown USA in 1979). He also had taken acting lessons for many years and had seriously thought about all of his movies and roles.

Although Patrick's wife Lisa never became a star, she too studied acting, and she helped Patrick analyze all his roles. Patrick and Lisa deserve much more credit than they have received for improving the script of Dirty Dancing.

In his autobiography The Time of My Life, he describes (page 130) the original script as follows:
I read the script for Dirty Dancing one evening in our new house. Right away it filled me with emotion -- but not the kind it was supposed to. I didn't like it. It seemed fluffy -- nothing more than a summer-camp movie. Lisa read it, too, and she felt the same way.
Further, he tells (pages 136-137) how he rewrote the last scene.
Lisa and I stayed up the entire night before filming the final scene, where Johnny [Castle] grabs the microphone in front of everyone at the resort, so we could rewrite the big speech. Sometimes we'd be working on new dialogue right up to shooting -- and then continue fixing it between takes. We never stopped trying to make it better.

I felt all along that Johnny should ultimately end up with Penny [Johnson], as they were so much alike and a more realistic couple than Johnny and Baby [Houseman]. That change got overruled, which was probably for the best. ...

We [Patrick and Lisa] did a lot of rewriting of the big final scene, but one line that I absolutely hated ended up staying in. I could hardly even bring myself to say, "Nobody puts Baby in a corner" in front of the cameras, it just sounded so corny. But later, seeing the finished film, I had to admit it worked. ...

The more we added and revised, the stronger the characters got.
The reason why Patrick and Lisa Swayze stay up all night "rewriting" Johnny's speech is that (I speculate) Eleanor Bergstein's original script did not have any such speech at all.

Swayze's book suggests that Bergstein's original script did include Johnny's statement Nobody puts Baby is the corner. However, I speculate that the statement was added during a last-day argument about the drastic change of the final scene. The argument was settled with a compromise that the scene would include the speech written by Patrick and Lisa during the preceding night on the condition that the scene include also the corner statement that likewise was added during the last-day argument.

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The song that originally accompanied Baby's and Johnny's triumphant dance was not The Time of My Life. Rather, the song was an unidentified song composed by Lionel Richie. In a previous article, I argued that the song was Richie's Dancing on the Ceiling.

The fact that the song was changed was revealed in an interview of Frank Previte, who wrote The Time of My Life.
When I [Previte] met Patrick at the Oscars [in 1988], he told me:

"You have no idea what this song ["The Time of My Life"] did for this movie. We filmed the movie out of sequence so the last scene was the first one filmed. We listened to 149 songs and hated them. We rehearsed every day to a Lionel Richie track. Good song but it wasn’t our song. We all felt the ending wasn’t happening and the movie was going to bomb."

"Then your cassette with you and Rachele Cappelli singing 'Time of My Life' came in. We filmed to that, and at the end of the day we all looked at each other and said "Wow, what just happened? This ending is awesome! Let’s go make this movie!"

It changed everything for them for the better. The camaraderie that wasn’t there was now there. 
The above quote indicates to me the following considerations:
* As written in the screenplay, the final scene caused much dissatisfaction and dissension among top people making the movie.

* The final filming of that scene was postponed for a considerable time while various decisions and changes were made.

* After the scene was changed, the top people shared a consensus that the scene was dramatically better.
I am sure that Eleanor Bergstein herself agreed happily that the change improved her movie. She deserves praise for going along with her collaborators' constructive criticism. The result is that her movie is brilliant.

Nobody should think that I am trying to tarnish Bergstein's glory. Rather, I am trying merely to deduce the final scene that had existed before the collaborative improvements to which she agreed.

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In the above excerpt from Swayze's autobiography, the paragraph saying that Johnny should ultimately end up with Penny is sandwiched between 1) a paragraph saying that the Swayzes rewrote the big speech and 2) a paragraph about the Baby in the corner statement. This context indicates to me that Swayze argued that the final scene should include a revelation that Johnny would end up with Penny.

Swayze's argument about the Johnny-and-Penny ending surely boggles the minds of the movie's fans. However, when Swayze was making that argument, the story's ending was less about Baby's love for Johnny and more about Baby's rivalry with her sister Lisa.

As long as Baby outperformed Lisa in the talent show, Baby should be satisfied to relinquish Johnny to Penny, who was his better match. That was the essence of Swayze's argument, which was reasonable when the story still was mostly about the Baby-Lisa rivalry.

Keep in mind that Bergstein's original script had been rejected by all the major producers. It was rejected not because all the producers were stupid, but rather because the script "seemed fluffy" -- was different from the later, rewritten, final script.

Think about that before you scoff at me for speculating that the original story was mostly about the rivalry between Baby and Lisa. The movie ended with Baby outperforming Lisa in the talent show.

Baby triumphed over Lisa by sexually seducing professional-dancer Johnny so that he would help her organize a spectacular performance in the talent show.

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Based on my speculation, I hypothesize this story.

The movie begins with the Baby-Lisa rivalry. Baby reads economics textbooks and wants to pursue a career. Lisa reads women's magazines, frets about her personal appearance and wants to marry a medical student.

On the Houseman family's first day at the resort, while they still are unloading their car, Billy Kostecki appears and offers Baby a job. She can earn some money by working secretly as the magician's stooge. Baby agrees. Because she will be a focus of attention during the magic show, she wants to look sexy, so she tightens her bra straps to lift her breasts.

Billy has told Baby to go to the resort's main building at the time when the Entertainment Staff will arrive. There she will meet the magician, who will instruct her how to act as his stooge in his magic tricks. When Baby arrives at the main building's back door, she sees Max Kellerman lecturing his waiters about flattering the guests' teenage daughters, and she sees the Entertainment Staff arrive, led by Johnny.

Baby learns from the magician how to help do the magic tricks, and subsequently she acts as the stooge in the magic show later that evening.

Later, when Baby wanted $250 for Penny's abortion, she perhaps tried to get the money from the magician and/or Neil Kellerman. These conversations might have introduced the idea of Baby participating in a spectacular magic show on the last night. Maybe the show's best performance would win a $250 prize.

While Baby is learning to dance with Johnny for the Sheldrake performance, she starts to think how she could incorporate her new dance skills into the last-night magic show. Baby's dance performance at the talent show will be far better than Lisa's dopey singing of the song I'm So Pretty.

However, Baby foresees that Johnny will have little interest in herself after Penny recovers from her abortion.

Therefore, Baby schemes to seduce Johnny right after the Sheldrake performance. Baby threatens Lisa to prevent Lisa from informing their parents about Baby's absent all night. On the drive to and from the Sheldrake, Baby bares her breasts to Johnny in the car. Finally, Baby does to Johnny's cabin and accomplishes her seduction.

To continue enjoying sex with Baby, Johnny continues to spend time with her and helps her practice and perform her talent-show dance. Together, Baby and Johnny begin to develop the talent-show performance. Scenes of their practice sessions are accompanied partially by Swayze's song "She's Like the Wind", because Baby flies through the air in her fearful, clumsy attempts to master the lift movement.


The planned performance gradually takes shape. Baby will be sawed in half by the magician. Then there will be some magic trick involving the ceiling. Then Johnny will come onto the stage and will rejoin the magician's sawed-in-half box. Then Baby will emerge with her whole body from the box, and she and Johnny will perform their dance.

Baby's and Johnny's practice sessions are shown in the movie. Also shown are Johnny's teaching the hotel staff Cuban-soul dances. There are lots of dance scenes.

However, during the final days before the talent show, Johnny squabbles with Neil and is falsely accused of stealing money from Moe Pressman, and so Johnny is fired. As Johnny says goodbye to Baby, he jokes, Maybe they'll saw you in seven pieces now in order to fill all the time in her truncated talent-show performance.

Baby is disappointed, because all her efforts for the talent show have turned out to be inconsequential. By default, Lisa will shine as the family's star performer with her "I'm So Pretty".

However, instead of driving home to New York City, Johnny drives just 20 minutes to the Sheldrake Hotel, where he gets hired immediately for the next season. Now financially secure, Johnny drives back to Kellerman's just as the talent show is about to end.

The planned magic tricks have been abandoned (the movie audience already has seen the tricks being practiced), so Johnny just grabs Baby from her table and leads her up onto the stage. Tito Suarez's orchestra begins to play Lionel Richie's song "Dancing on the Ceiling", and Baby and Johnny perform their dance. This time Baby leaps up into the lift fearlessly and flawlessly.

After that dance, the movie's denouement happens essentially the same way it happens in the current movie.

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Swayze argued that the denouement should include a moment revealing that Johnny would get together with Penny. After all, Baby was going away to college and career, so the movie audience should be happy to see Johnny and Penny get together.

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In the current movie, the final scene begins with Billy Kostecki putting a single record onto a record player and playing the song "The Time of My Life". During the denouement, however, the movie audience sees that Tito Suarez is conducting his orchestra, which is playing the song. At that moment, Max Kellerman asks Tito:
Do you have sheet music on this stuff?
Indeed, in the original story Suarez and his orchestra did have the sheet music, because Baby and Johnny had planned and practiced their performance and so had provided the sheet music to Suarez's orchestra.

Since all the practice for the talent-show dance has been removed from the movie, however, the final scene has to begin with Billy Kostecki putting the record onto the record player. Now the dance seems to be spontaneous, and the orchestra's sheet music is mysterious.

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This article follows up four previous articles.

1) The Re-Writing of Eleanor Bergstein's Script

2) My Speculations About Eleanor Bergstein's Original Script

3) My Speculations About Script Changes Made by the Swayzes and by Rhodes

4) My Speculation About the Construction of the Story

Saturday, November 4, 2017

Penny's Wonderfully Swishy Red Dress

Fashion essayist Mallory McInnis writes in her blog Look At These Gems that one of her favorite red dresses worn in a movie is the "wonderfully swishy dress" worn by Penny Johnson.

Penny Johnson working her "wonderfully swishy red dress"

This is one of the best red dresses in cinema history.

McInnis praises Dirty Dancing for featuring one of cinema's best red dresses.

The red-dress movies competing against Dirty Dancing in McInnis's list include the following (click on a photo to enlarge it):

Annie

The Curious Case of Benjamin Button

Death Becomes Her

Funny Face

Gone With the Wind

Mad Men (television)

Marry Poppins

Beginners

Notebook

Pretty Woman

Grease

Moulin Rouge

She's All That

Inglorious Basterds

Taxi (television)

Ten Things I Hate About You

Titanic

Twin Peaks (television)

Willie Wonka and the Chocolate Factory

Tootsie
 McInnis provides more photos and comments on her webpage.

Networking Lessons in the Movie "Dirty Dancing"

Stephanie Norell, the Marketing Director for North by Northwest’s Boise office, has written an article titled Movie B-School: Dirty Dancing and Dirty Networking. (B-School = Business School)

Norell compares various kinds of business networking as depicted in the movie Dirty Dancing.
.... The term “dirty networking” refers to both the idea that you are using people by pretending to befriend them in hopes of selling to them, and to this study that shows some people feel physically dirty after networking events. It’s all a bit icky, and would turn anyone off to the idea of meeting people in a professional capacity.

The term for networking with the purpose of advancing your career by using those relationships is called “instrumental networking”, and I want to shower just from thinking about it. I once knew someone who befriended a man solely because they knew that man was married to someone they wanted to do business with. ....

I optimistically call for us to all ... create a better business network full of kind and honest relationships instead of being used.

I love this movie [Dirty Dancing], but it’s just full of people using one another.
Norell writes that Baby Houseman used "dirty networking" when she helped Billy Kostecki carry a watermelon into the employees' party.
Baby uses the opportunity to help Johnny’s cousin [Billy] carry watermelons to the back house so that she can meet her newfound crush, Johnny Castle (Patty Cakes, as I like to call him). She carries a watermelon, and soon after she gets to meet Patty Cakes, she ditches the cousin and goes for the guy she really wants.
On the other hand, Baby used "clean networking" when she offers to substitute for Penny Johnson's Sheldrake performance.
By agreeing to help with the big dance at the Sheldrake, Baby honestly wants to aid in Penny’s availability to…(tip-toeing here) make big decisions, despite the way Penny treats her. Although it does mean she’ll get to spend time with her favorite dance instructor, she is earnest in her motivations of helping Penny, whom she ultimately admires.
As other examples of "dirty networking", Norell points to Robbie Gould and Neil Kellerman.
Robbie is a sleazebag. A gross sleazeball, who woos Baby’s sister Lisa, so he can get to their father. Robbie wines and dines both Lisa and her parents, pretending to be a class act deserving of college tuition from the Housemans. He is not worthy, and he’s a jerk.

Also DIRTY, and in the same vein, is Max’s grandson (let’s be honest, no one remembers his name) tries to make Baby his girl, because she’ll look good on his arm.
Norell concludes with the following wise advice about networking.
The best type of networking develops from treating the people you meet in a business setting the way you would any potential new friend: Listen to what they’re saying, Be there with them, respond thoughtfully, and make an effort to keep the relationship going. Networking is really about making friends, and if you can say you’re a good friend, you’ll likely do a great job with business relationships, too.

Putting baby in the corner equates to (in networking terms) not respecting her enough to actually listen and get to know her … it means branding her as Baby from Dirty Dancing Studios, who is a great lead for you.

When you’re out there in the networking world, don’t let anyone put you in a corner … you are Miss Frances Houseman, and if you want to be more than __ who works at __, then get on stage and show ‘em you can dance.

Having some Swayze arm candy doesn’t hurt your case either.

Monday, December 29, 2008

Robbie Gould's Philosophy

The movie Dirty Dancing takes place during the 1963 summer vacation of the Houseman family at a Borscht Belt resort hotel that caters to Jewish families. The Houseman family consisted of the parents, Doctor Jake Houseman and Marjorie Houseman, and two daughters, Lisa and Baby (Frances).

The family regularly ate in the hotel dining room, where they were served by a waiter named Robbie Gould. He himself had grown up in a family that visited this resort hotel. Since he began to attend college, he has worked during his summer vacations as a waiter in this resort hotel. By the summer of 1963 he has been accepted into Yale Medical School.


When the movie’s story begins, the Housemans already are acquainted with Robbie Gould, although the reason is not explained. Perhaps Robbie’s father was a medical colleague of Doctor Houseman. Perhaps the two families had met at the resort hotel in a previous summer. Perhaps Robbie had served the Houseman family as a waiter during a previous summer.

During the first days of the Housemans’ stay at the resort hotel, Robbie began to court the older sister Lisa. The basic romance between Robbie and Lisa was not kept secret from the hotel resort’s owners or from the rest of the Houseman family. The hotel resort’s owner has encouraged the waiters – all of whom are Jewish and successful college students – to flirt with the Jewish families’ daughters of marriageable age.

In one of the very first days of the Housemans’ vacation, the Houseman mother Marjorie and her two daughters were participating together in a group activity of trying on wigs and cosmetics. Robbie approached Lisa, who was sitting near Marjorie and Baby, and joked to Lisa: “Ask not what your waiter can do for you, but what you can do for your waiter” – an allusion to President John Kennedy, who was in office during that summer of 1963. Robbie remarked also to Lisa that he was saving his tips to buy an Alfa Romero automobile, and Lisa immediately exclaimed: “That’s my favorite car.”

Robbie and Lisa were flirting publicly, and neither her mother Marjorie nor her sister Baby paid attention although the flirting was taking place in their presence. After Lisa and Robbie talked quietly some more, Lisa confided to Baby that she intended to go that night with Robbie to spend some time together secretly on the golf course. Lisa asked Baby to lie to their parents about her whereabouts if the parents asked. Baby agreed to tell a lie if asked.

Robbie’s public flirting and Lisa’s confidential request about their intended secret meeting that night were overheard by Penny Johnson, who was serving as an activity leader, helping the female guests try on wigs and cosmetics.

Penny Johnson’s main employment at the resort hotel was to dance. She and her dance partner Johnny Castle performed for the guests and taught the guests how to dance. Since Baby already had seen Penny dance and admired Penny’s beauty and dance skills, she approached Penny to compliment Penny during the moments when Penny was angrily watching Robbie flirt and plan with Lisa. Penny was so angry at Robbie that she responded to Baby’s compliments rudely.

That night, when Robbie and Lisa sneaked away to the golf course, Penny ran away into the woods and disappeared. Apparently Penny had become emotionally distraught when she saw Robbie and Lisa leave together, and so she ran away. In the movie’s original script, there was a rather long scene where Baby secretly organized several people to search for Penny in the woods, but this scene eventually was cut out of the movie’s final version.

The movie does show, however, that Baby noticed Robbie and Lisa walking together out of the woods. Lisa’s hair and clothing were disordered, and they were arguing because Robbie had become too aggressive in his seduction efforts and because Lisa had refused to submit completely.
Lisa: Robbie, I don’t hear an apology.
Robbie: Go back to Mommy and Daddy and listen. Maybe you’ll hear one [an apology] in your dreams.
Eventually Baby found Penny hiding and crying in the resort hotel’s kitchen. Baby then accompanied Penny to Penny’s cabin and learned that Penny had become pregnant by Robbie. The dialogue never reveals when the relationship between Robbie and Penny had begun. Robbie and Penny both have worked at the resort hotel in previous summers. Perhaps their relationship began in a previous summer, perhaps it began earlier this same summer. In any case, Penny had become sexually involved with Robbie because she really loved him and hoped to marry him.

Penny told Robbie about her pregnancy, but he refused to acknowledge any responsibility and he accused her of sleeping with lots of other men, any one of whom might be the father. In fact, Penny has been faithful to Robbie during their relationship and knows for sure that she became was impregnated by him. Robbie broke off his relationship with Penny and refused to help her with her pregnancy or an abortion. Penny decided to have an abortion, but did not have the $250 (1963 dollars) to pay for it.

When Baby Houseman was told about this situation, she immediately exclaimed: “But if it’s Robbie, there’s no problem. I know he has the money.”

In the next scene, Baby confronted Robbie in the resort hotel’s dining room and asked him to give Penny the $250 for the abortion. Robbie refused, saying “some people count and some people don’t.” Robbie then handed Baby an obviously much-read paperback copy of The Fountainhead and recommended that she read it: “Read it. I think you’ll enjoy it, but return it; I have notes in there.”


Baby was immediately offended by the suggestion that she read this novel. She refused to take the book, angrily poured a pitcher of water on his pants (he was dressed in his waiter’s uniform and preparing the dining room’s tables for a meal) and rebuked him: “You make me sick. Stay away from me, and stay away from my sister, or I’ll have you fired.” Then she walked out angrily.

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The novel The Fountainhead was written by Ayn Rand. She was born in Saint Petersburg, Russia, in 1905 and grew up as the eldest of three daughters in a family that was ethnically Jewish but agnostic and non-observant. Her father was a chemist who had developed a pharmacy business. After the Communists seized power in 1917, they nationalized her father’s business. Ayn attended the University of Petrograd (her native city’s new name) and graduated with a degree in Social Pedagogy (with emphases in history, philology and law) at the age of 19 in 1924. She then attended the State Institute for Cinema Arts until early 1926, when she obtained a visa to visit some relatives in the United States. She never returned to Russia from that trip, and eventually she became a US citizen.


Rand moved to Hollywood and worked in a variety of jobs in the movie industry. During the 1930s she wrote a variety of works – screenplays, plays, novellas – that had some, but not great success. Her first huge writing success was the novel The Fountainhead, which she published in 1943. More than six million copies of this novel have been sold, and about 100,000 copies are still sold every year.

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The Fountainhead’s major characters is a man named Howard Roark, who strove to work as an architect. Since his architectural designs were unconventional and creative, however, he suffered difficulties in developing a successful career. He was expelled from the school where he studied architecture, and so he apprenticed himself to another unconventional, creative architect who suffered various business problems.


Roark could not succeed professionally in this situation, so he quit and went to work instead as a stone cutter in a granite quarry. The quarry’s owner had a daughter named Dominique Francon, who became infatuated while watching Roark work in the quarry. She tried to arrange situations where she could be in Roark’s presence. Eventually she arranged for him to replace a broken stone in a fireplace in her home. Three days later Roark sneaked into Francon’s bedroom, raped her and left. As the rape was happening, she felt that Roark was “a master taking shameful, contemptuous possession of a slave.” The rape dismayed her, but she did not report the rape to anyone.


Later Roark was awarded a contract to design a monument. His design featured a huge statue of Dominique Francon nude.


This design caused a public outrage, and so contractor sued to cancel the contract. The dispute eventually was settled in a trial, in which Francon testified in Roark’s favor. Roark nevertheless lost the lawsuit, and so the contract was canceled and Roark again found himself impoverished.

After the trial, Dominique Francon married a mediocre architect who had testified against Howard Roark in the trial. As the mediocre architect’s wife, Francon persuaded a series of potential clients to hire her husband instead of Roark for various architectural projects. As part of these efforts to attract potential clients, Francon had sex with a wealthy man, who was so pleased with Francon that he paid her and her mediocre-architect husband to divorce so that he could marry her.

While married to the wealthy man, Francon secretly helped Roark to develop Roark’s own architectural business where he could exercise his own creativity fully and autonomously. Francon then divorced the wealthy man and married Roark, who after he has become a famous and successful architect. At the end of the novel, Roark was building a unique skyscraper with the wealthy man’s money but free from the wealthy man’s ideas or interference.


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The Fountainhead is a novel that praises the efforts of an extraordinary creative genius to conduct his life focused completely on his own professional goals. If such a genius refuses to compromise professionally and personally, then eventually he might achieve extraordinary professional success and personal happiness.

Ayn Rand provides a female perspective on the lives of such creative geniuses through the novel’s main female character Dominique Francon. This character believed that she herself is unusually intelligent and capable and that practically all the men around her were mediocre and unworthy marriage partners. The one extraordinary male she ever found was Howard Roark, but he confounded her when he raped her. Still infatuated with Roark but unable to understand his attitude and impulsiveness, she resigned herself to marry two other men in turn who lacked Roark’s creative genius.

As Dominque Francon lived with her two husbands and continued to observe Howard Roark’s creative genius from afar, she continued to fall more deeply in love with him. When Roark designed a monument that featured a huge nude statue of her, she accepted this grand, creative gesture as an extraordinary compensation to her for the rape. She reasoned that an extraordinarily intelligent woman such as herself should grant a special understanding, appreciation and indulgence for the sexual desires of such an extraordinarily creative and superior man as Howard Roark.

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Ayn Rand wrote a second famous novel, Atlas Shrugged, which was published in 1957. Atlas Shrugged likewise praised the extraordinary contributions of extraordinary individuals to economic and social development.

Atlas Shrugged likewise elaborated Rand’s opinions about sexual morality, praising sex that expresses intellectual and spiritual compatibility. In the novel, the mediocre characters experience mediocre sex with other mediocre characters, and the extraordinary characters enjoy extraordinary sex with other extraordinary characters.

After writing Atlas Shrugged, Ayn Rand devoted herself to developing a philosophy that she called Objectivism. One of Objectivism’s major elements was its contempt for altruism. Rand argued that altruism is a misdirected and ineffective motivation for economic and social development. A much more effective motivation is the desire of geniuses to create innovative systems and technology for the sheer joy of creating and achieving. Altruistic people who try to help disadvantaged societies accomplish far less improvement than creative people who simply love to build and develop wherever they can.

With regard to sexual relations, Rand believed that men and women should be treated as intellectually and socially equal but also that their physiological differences caused significant psychological differences. Men act aggressively, and women respond. Rand taught that “the essence of femininity is hero-worship — the desire to look up to man." Rand said that no woman ever should serve as US President because any woman would be damaged psychologically in such a position.

Jenny Turner, a biographer of Rand, wrote:
The sex in Rand’s novels is extraordinarily violent and fetishistic. In The Fountainhead, the first coupling of the heroes, heralded by whips and rock drills and horseback riding and cracks in marble, is ‘an act of scorn ... not as love, but as defilement’ —- in other words, a rape... In Atlas Shrugged, erotic tension is cleverly increased by having one heroine bound into a plot with lots of spectacularly cruel and handsome men.
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A movie was made of The Fountainhead in 1949. The role of Howard Roark was played by Gary Cooper, and the role of Dominique Francon was played by Patricia Neal – both of whom were famous stars. Millions of people who never read the book saw the movie during the 1950s, so the story and its ideas were well known. The rape scene was not depicted explicitly in the movie, but the novel’s rape scene was notorious among the general public, even among people who had not read the novel.


By the early 1960s Ayn Rand had reached the apex of her fame and influence. After the social welfare programs of the Depression, the military teamwork of World War Two and the Korean War, and the social conformity of the Eisenhower Presidency, Rand’s praise of extraordinary, creative, nonconformist individuals struck a fresh chord among much of the population.

Men who read The Fountainhead imagined themselves to be like the heroic individualist Howard Roark who had to work as a stone cutter in quarry but who eventually designed and built the world’s greatest skyscraper. Male readers were intrigued that the female author depicted the main female character, the beautiful Dominique Francon, as tolerating a rape by Howard Roark and as nevertheless continuing to admire Roark as a hero, as being complimented when Roark proposed to create a huge nude statue of herself, and as eventually leaving a wealthy husband to marry Roark.

The Fountainhead was popular among female readers too. During an era when women were supposed to try or at least pretend to try to preserve their virginity until marriage, pre-marital sexual relations between an engaged couple often included a private drama in which heavy petting between the forceful male and reluctant female culminated in a quasi-rape. Thus the woman’s virginity itself was not preserved, but her principled intention and effort to preserve her virginity were preserved. In that era of supposed pre-marital virginity, the rape fantasy provoked by The Fountainhead struck a subconscious chord that was shocking but enjoyable among female as well as male readers.

In that era, the overwhelming majority of women also saw their lives as revolving primarily or even entirely around marriage and family and as dependent on their husbands’ professional success. During a marriage, the husband was supposed to achieve and earn in the economic world, and the wife was supposed to nurture the husband and the children in the domestic world. Ayn Rand’s thinking about sexual relations was rooted firmly in the first six decades of the twentieth century.

Attitudes about sexual relations began to change in the early 1960s. Betty Friedan’s book The Feminist Mystique was published in 1963, and the expression “women’s liberation” began to appear in public discourse in 1964. In the following decades, women in modern societies developed significantly new attitudes about their own life achievements and about their attitudes toward men.

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Dirty Dancing, which takes place in 1963, depicts two sisters with significantly different attitudes about their own future achievements and marriages.

The older sister Lisa Houseman is interested primarily in fashion, romance and marriage. She is frivolous and lacks any interest in global problems. For her performance in the talent show she is deciding whether to sing “I Feel Pretty” or “What Do the Simple Folk Do?” She eventually will sing a silly Hawaiian song.

The younger sister Baby Houseman intends to begin attending Mount Holyoke College, an excellent women’s college in Massachusetts. She intends to major in the economics of underdeveloped countries and after graduation intends to serve in the Peace Corps. She intends to defer her marriage until at least her mid-twenties and probably intends also to continue to develop an intellectual career during her marriage.

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Baby was insulted when Robbie recommended that she read The Fountainhead. Even if she never had read any of Rand’s writings, she as an educated and socially aware young woman in 1963 knew enough about Ayn Rand and this novel that she expected it’s message to be, as Robbie himself remarked to her, “some people count and some people don’t.” Baby perceived that the novel’s philosophy and Robbie’s philosophy excused supposedly extraordinary individuals from common concerns and morality. An extraordinary male should be excused even if he raped a woman, and the woman should be satisfied to hope that she still might marry him in the far future. And altruism was a bad motivation!

Baby refused to take the book that Robbie tried to lend her. She poured a pitcher of water onto Robbie and rebuked him: “You make me sick. Stay away from me. Stay away from my sister, or I’ll have you fired.”

Baby’s threat to have Robbie fired was an empty threat. She herself had heard the resort hotel’s owner tell the waiters to flirt with the young female guests. Furthermore, she herself had heard the owner tell the male dance instructor Johnny Castle not to become involved with the young female guests. Baby was in no position to try to have Robbie fired. If she tried to cause trouble, the employee most likely to be fired was Johnny.

Despite Baby’s threat, Robbie continued his involvement with Lisa. Even after Lisa told Baby she intended to have sex with Robbie, Baby did not take any action to have Robbie fired.

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When Baby confronted Robbie to provide the money for the abortion, Robbie was dressed in his waiter uniform and preparing tables for the next meal in the resort hotel’s dining room. As she talked with him about Penny’s situation, Baby walked alongside Robbie from table to table and poured ice water into the glasses as Robbie set the tables.

During this conversation, Robbie pulled his much-read paperback copy of The Fountainhead out of his uniform pocket and tried to give it to Baby to read. Why was Robbie carrying this novel in his uniform as he set the tables for the next meal? He could not have expected Baby to confront him in this situation, so he could not have brought the novel with the intention of giving it to Baby.

Apparently, Robbie had brought the novel into the dining room with the intention of giving it not to Baby, but rather to Lisa, whom he expected to serve as a waiter at the imminent meal. He and Lisa had quarreled the previous night when he had become sexually aggressive at the golf course. Lisa had refused to submit to him, and he had refused to apologize. Robbie had not given up in his efforts to seduce Lisa, however, and he intended to lend Lisa The Fountainhead as his next step.

If Lisa would only read The Fountainhead, then Lisa would understand and appreciate Robbie better. The novel was written by a famous female author with a female perspective that Lisa should share. Lisa should understand that Robbie Gould was similar to the novel’s hero Howard Roark. Robbie Gould was working now only as a waiter, but Howard Roark had worked for a long time only as a stone cutter in a quarry. Eventually, however, Robbie Gould would become the world’s greatest medical genius, just as Howard Roark became the world’s greatest architectural genius. And Lisa should identify with novel’s beautiful and intelligent heroine, Dominique Francon:
  • Lisa Houseman should adore the genius Robbie Gould just as Dominque Francon adored the genius Howard Roark.
  • Lisa Houseman should submit to and then forgive Robbie Gould’s sexual aggression just as Dominique Francon had done submitted to and forgiven Howard Roark’s rape.
  • Lisa Houseman should feel flattered that Robbie Gould would adore her nude body, just as Howard Roark had designed a huge monument to Dominique Francon’s nude body.
  • Lisa Houseman should be willing to wait patiently until Robbie Gould was ready to marry her, just as Dominque Francon had waited – even through two marriages to other, mediocre men – until Howard Roark was ready to marry.
We don’t know whether Lisa actually read The Fountainhead. It’s a long (750 pages) and high-minded novel. Perhaps she just started and then asked Robbie to tell her the story. Robbie certainly pointed out the sexy parts – the scene where Dominique was raped and the scene where the married Dominique had sex with the wealthy man who then was so pleased that he paid Dominique’s husband to agree to a divorce so that Dominique could marry the wealthy man and the scene where Dominique left the wealthy man and reunited with Howard Roark, who had raped her many years ago.

We do know, however, that by the end of the vacation stay Lisa had decided to have sex with Robbie. She intended to surprise Robbie. She made herself up as beautiful as she could, and she went to his cabin in the early evening. As it turned out, however, Lisa found Robbie having sex with Vivian Pressman, and so she left and did not have sex with him after all.

If, however, Lisa had found Robbie in the cabin alone, she certainly did not intend to declare abruptly that she had decided to have sex with him. I think she intended the consummation to happen in a different manner. She would engage him in some kissing and petting, and then as Robbie became more aggressive, she would make a show of resisting but eventually would submit to him. She would enable Robbie to experience his rape fantasy, and so he would fall in love with her and propose marriage. She would get pregnant, and Robbie would married her immediately, and then on their tenth anniversary they would come back to this resort hotel, which would let them stay for a vacation for free.

That’s how Lisa misunderstood The Fountainhead. She understood only that the hero raped the heroine but then they got married and lived happily ever after. Lisa did not understand that the hero did not marry until he achieved extraordinary professional success, because marriage impeded his professional efforts in the meantime. Lisa did not understand that the heroine was supposed to satisfy herself with a couple of marriages to other, mediocre men in the meantime. The hero had time to satisfy his own sexual desires only with an occasional rape in the meantime.

Perhaps Robbie Gould previously had used this same seduction technique – The Fountainhead – on Penny Johnson. If she was overpowered by Robbie when they had sex, then maybe that is why she was not able to prevent her pregnancy.

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A day or so before Lisa told Baby that she intended to have sex with Robbie, there was another confrontation between Robbie and Baby.

The situation is that Baby and Johnny had become sexually involved, but Baby still had not told her father that she even considered Johnny to be her boyfriend. Johnny felt insulted that Baby apparently was ashamed to admit that she was involved with such an uneducated, low-class man as Johnny. Baby and Johnny had quarreled about her reluctance to tell her father about Johnny, and so Baby had gone to the employees’ cabins to find Johnny to discuss their quarrel some more.

Baby found Johnny in Penny’s cabin, in a serious discussion. Johnny then left Penny in the cabin and walked out onto the cabin’s porch to talk with Baby. Before they began talking, Johnny and Baby embraced briefly on the porch.

At that moment, Robbie walked past the cabin porch and noticed Johnny and Baby embracing, and joked insultingly: “Looks like I picked the wrong sister. That’s okay, Baby, I went slumming too.”

The joke’s idea was that Robbie perceived that Baby was more on his intellectual and cultural level than Lisa was. Baby would have been a better sexual partner for Robbie. Lisa still was refusing to have sex with Robbie, but Baby apparently had begun already to have sex with Johnny.

Robbie had picked the wrong sister to seduce when the Housemans had arrived for their family vacation. Baby was the sister who read books and could understand The Fountainhead and understand the Objectivism philosophy. Baby was the sister who was willing to have sex without a marriage commitment. Instead of picking Baby for a brief sexual affair, Robbie had made a mistake and went slumming with the intellectually and culturally inferior sister Lisa.

Robbie told Baby that Baby had made a similar mistake. Baby actually was like Dominique Francon, but she had gone slumming with the intellectually and culturally inferior Johnny instead of submitting herself sexually to and spending her vacation time with Robbie the Roark-like genius.

As this confrontation turned out, though, Johnny jumped off the course and beat Robbie up. And then Johnny told Robbie, “Get out of here. You’re not worth it.”

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The role of Robbie Gould was played by an actor named Max Cantor. He was born in 1959, and so he was about 27 years old when Dirty Dancing was filmed. He grew up in a theatrical family (his father produced more than 100 plays) and graduated from Harvard University. He played the piano superbly, and he played classical music for Dirty Dancing’s cast during breaks in the filming.

Dirty Dancing was released in 1987 and four years later, in 1991, Cantor died of a heroin overdose.

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Added on April 27, 2017:
Many reader comments below are critical of my above article. I respond to those criticisms in this article.