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Showing posts with label Abortion. Show all posts
Showing posts with label Abortion. Show all posts

Sunday, December 5, 2021

The 1987 Movie and Opinions About Abortion

The movie Dirty Dancing was released in 1987, and it continued to be viewed often on VCR during the following years.

The Gallup company has collected opinions about abortion since 1973, when the US Supreme Court issued its Roe v Wade ruling, which struck down all the states' abortion laws.

Here are the opinions of women and of men before and after 1987 (click on the graphs to enlarge them):

Women's opinions about abortion

Men's opinions about abortion

I will focus on women's opinions. 

From 1973 to the present, about 20% of women have opposed abortion in all cases (the low, dotted line). The other 80% think that abortion should be legal at least some cases (the middle, green line) or in all cases (the upper, blue line).  

In the years following 1987, the percentage of women who thought that abortion should be legal in all cases fell from 58% to about 43%, while the percent who thought it should be legal only in some cases rose steeply from about 23% to 33%. 

In other words, support for abortion fell after the 1987 movie. Fewer women thought abortion should be legal in all cases. However, perhaps that happened because the movie caused women to think and discuss more about the issue and to become more nuanced in their opinions.

After about 1995, the 80% reverted largely to its pre-1987 ratio. By 1997, about 63% of women thought that abortion should be legal in all cases. That year, 1997, was the peak of support for abortion legality. 

Since 1997, the always-legal opinion has gradually declined. Now in 2021, only about 45% of women think that abortion always should be legal (about 50% of men think so).

In recent years, the controversy has been more about abortions in late pregnancy. Rather than arguing about first-trimester abortions , people are arguing about third-trimester abortions. As the fetus looks more and more like a baby, women feel more and more that abortions should be legally restricted.

Ha, ha! I didn't get aborted.

Thursday, August 8, 2019

The 1960 Movie "Saturday Night and Sunday Morning"

The 1960 British movie Saturday Night and Sunday Morning includes an attempted abortion. A single young man, Arthur Seaton (played by the actor Albert Finney), has been having an affair with a married woman, Brenda, a mother and the wife of an ambitious co-worker of Arthur. Brenda gets pregnant during a time when she has not been having sex with her husband, and so Brenda knows for sure -- and her husband eventually would know for sure -- that she has become pregnant from Arthur.

In this video clip, Brenda informs Arthur about her pregnancy. (I suggest you turn on the closed captions.)


Part of the movie is skipped over at about 2:50 in the above video clip. During that interval, Arthur learns from his cousin that the cousin's mother -- Arthur's aunt -- knows how to do abortions. So, then at 2:50 the video clip shows Arthur taking Brenda to his aunt's home to do the abortion.

Later in the movie, Brenda tells Arthur that the aunt's abortion method was to have Brenda sit in a bathtub of hot water for three hours and drink a bottle of gin. The aunt's abortion method does not work; Brenda remains pregnant.

Then Brenda learns about a doctor who does illegal abortions. The doctor charges a lot of money, and Arthur promises Brenda that he will give her the necessary money in a few days. During those days, however, Brenda decides to give birth to Arthur's child after all. She will accept whatever the consequences might be with her husband and family.

Brenda does not explain her reasoning. At one point she remarked that the criminal penalty for abortion might be as long as ten years in prison. Maybe she fears imprisonment.

At the point when she decides to give birth, Brenda has no hope that Arthur might ever marry her.

Brenda does not express any moral objections to abortion. In general, she seems like a very immoral person, cheating on a nice husband who is working hard to get ahead and who spends quality time with their son.

Toward the movie's end, the audience perceives that Brenda has told her husband about her affair and her pregnancy and that her husband has agreed to forgive her and raise the child as his own.

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The movie was a commercial and critical success in the United Kingdom, winning many British awards -- including Best Film, Best Actor, Best Actress and Best Screenplay. It is ranked #14 in the Top 100 British Films.

The movie depicts the British lower-middle class as living in economic, intellectual and moral squalor. Arthur and his family and his neighborhood spend most of their time working, drinking alcohol, watching television or committing mischief.

Everyone's speech is ungrammatical, slangy and dialectic. The movie was shown in some American theaters, but I assume that American audiences could not understand much of the dialogue. Here is the trailer for American movie theaters.


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The problems of unwanted pregnancies and abortions are depicted as phenomena of society's lower classes. Uneducated, poor people deal with these problems all the time. These people are stupid, and so they get into unwanted pregnancies, many of which are solved by illegal abortions. Moral considerations are largely dismissed or ignored by these brutes.

In that regard, the abortion issue in this movie reminds me of the abortion issue in the 1967 movie In the Heat of the Night.

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I generally liked the movie. The acting and settings impressively depict a neighborhood that is mostly employed but nevertheless is living in squalor. I would classify the two main characters -- Arthur and Brenda -- as sociopaths. Most of the other characters are contemptible too. Only the few policemen are positive characters.

I recorded the movie from a recent TCM broadcast and watched it with the closed captions turned on.

YouTube provides the entire movie, but without closed captions.

Saturday, February 9, 2019

Pro-Lifers Can Appreciate "Dirty Dancing"

I attended Lutheran parochial schools through my sophomore year in high school. In 1968 my family moved to a city that did not have a Lutheran high school, so I began attending a public high school as a junior. I though abortion should be illegal and occasionally argued with fellow students about the issue. I don't remember which arguments I used, but I remember my feelings that abortion is morally wrong.

My opinion began to change when I was shown a photograph of an early fetus. The below photograph shows a fetus at about two months. I lost most of my moral certainty about the issue. I did not feel outraged by the abortion of such a tiny, incipient creature.

A human fetus at about two months
(I illustrate my article here with a two-month fetus because Penny Johnson had missed only one menstrual period when she got her abortion.)

I was 21 years old when the US Supreme Court legalized abortion in 1973. I opposed that decision because I figured that the justices who voted so were abusing their Supreme Court positions in order to impose their own personal opinions onto the entire USA. I thought -- and still think -- that the the justices concocted their "privacy" legal argument as a bogus pretext because they personally were exasperated that state governments continued to retain their laws against abortion. I still think that our US Constitution indicates that our state governments -- not our federal government -- should decide abortion issues.

Although I think that US Supreme Court justices should not impose their personal opinions onto our entire country, my opinions about abortion policy had evolved to a point where I agreed that abortion should be generally legal during the first three months of pregnancy.

If the state governments still decided abortion issues, then I would support my state government making abortion generally legal during the first three months. I would support even a limit of 4.5 months -- the first half of the pregnancy.

At some point in the second half of the pregnancy, however, the decision should be shared by society. Too many people in society feel that abortion is murder. Acts that outrage society can be subjected to laws. You might own a kitten, but standing in a public place and torturing your kitten is illegal. At some point, personal actions that outrage society can be prohibited reasonably.

That's basically my opinion about abortion, but this issue is not so important to me that it ever influences my vote. I never would vote for or against some candidate because of his abortion position. Other political issues are much more important to me.

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Because of my personal experience of opposing abortion, I respect people who protest publicly against abortion.


I likewise respect people who protest publicly for the legalization of abortion. I think the issue can and should be discussed civilly and reasonably.

In my article here, however, I am addressing only those people who feel that abortion is murder and should be illegal from the very beginning of a pregnancy. To those absolute opponents of abortion I am writing my article here to suggest that they think about the Dirty Dancing story in a complex manner.

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On September 29, 2018, I published an article titled No new tours of the stage musical?, in which I reported that the tours of the Dirty Dancing stage musical seem to have ended in North America. I figured that future performances might be done only by amateur groups in community, university and high-school theaters.

I foresee that high-school performances of the Dirty Dancing musical might be subjected to protests by abortion opponents. Parents might argue that this musical is inappropriate for a high-school because it depicts favorably 1) a casual sexual relationship between a 17-year-old girl and a much older man and 2) an illegal abortion. A high school is a tax-supported institution serving local families, and many parents oppose school activities that encourage premarital sex and abortion.

A lot of high schools have presented the musical play Grease. An amusing feature of Grease is that basically all the students want to enjoy sex, but they all are frustrated because they are not actually engaging in sex. Only Betty Rizzo actually has been having sex, and she is shamed about it.


A high-school production of Dirty Dancing could be rewritten to delete the scenes showing Baby participating in sexual activities with Johnny. The abortion issue, however, could not be written out of the story.

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I offer to pro-lifers the following considerations.

Eleanor Bergstein wrote the Dirty Dancing story with the intention of inspiring people to oppose any reversal of the Supreme Court's abortion decision. She placed the story in the year 1963 because that year was ten years before the Supreme Court's decision. She wanted the movie's viewers to understand Penny Johnson's situation -- her resorting to an illegal abortion -- as a consequence of the 1963 laws prohibiting abortion.

Since the movie was released in 1987, the public's opinions about abortion policy in the USA have not changed much. In particular, about 20% of the population thought in 1973 and 2013 that abortion should be illegal in all circumstances.

Opinions about abortion policy in the USA
were about the same in 1975 and 2013.
The percentage who thought that abortion should be legal in any circumstances rose after the movie was released, but that rise lasted only about ten years.

The most common opinion -- shared by a little more than 50% of the population -- is that abortion should be legal only under certain circumstances.

People think abortion should be increasingly illegal
as pregnancy progresses 
A clear majority of the population thinks that abortion should be generally legal during the first three months of pregnancy and that it should be generally illegal afterwards. The more the fetus looks like a cute baby, the more people think that abortion should be illegal.


Therefore, pro-lifers should not worry that the movie Dirty Dancing has affected public opinion about abortion in the long run.

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The movie Dirty Dancing always has caused people, however, to think and talk about abortion -- especially about abortion in the first trimester. Therefore pro-lifers should familiarize themselves with the movie, which might provide opportunities to engage other people in discussions about first-trimester abortions.

Pro-lifers who judge the abortion of a two-month fetus to be murder should consider the movie with much detachment. After all, it's only a fictional movie. Penny Johnson is only a fictional character. No real fetus was aborted -- was murdered. The movie has not influenced people's opinions about abortions significantly in the long run.

So, pro-lifers should remain emotionally calm about this movie.pro-abortion message.

 Pro-lifers who want to convince people that abortion should be illegal from conception should prepare themselves to discuss Penny's situation and decision. You have to convince people that Penny committed murder -- and that Baby Houseman acted as an accessory to murder. You have to clarify your own thinking.

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The movie Dirty Dancing has been extraordinarily popular for more than three decades. The movie's abortion element is only a minor reason for the movie's popularity. The music and dancing are entertaining. The protagonists are attractive. The story is captivating.

The movie is not mostly about abortion. Rather, the movie is much more about dancing, romance, family and social conflicts, life in the early 1960s, Jewish attitudes, and other aspects.

The movie has been appreciated and enjoyed by millions of people who think that abortion should be illegal in at least some circumstances. This has been true for the past three decades and will remain true for the next three decades.

Pro-lifers should accept and appreciate the movie's many good qualities. It's futile to denounce the entire movie because of one element -- the abortion. Accept the movie's popularity and use it as an opportunity to engage people in discussions about the morality of abortion.

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Four of the movie's characters obviously think that the abortion was morally justified -- Billy, Baby, Johnny and Penny. They acted secretly, because abortion was illegal and also because most people in the early 1960s thought that abortion was immoral and should be illegal. (That's why abortion indeed was illegal and why the US Supreme Court justices had to concoct bogus legal arguments to cancel anti-abortion laws in all the states.)

Most of the movie's characters would have said, if asked, that abortion should be illegal. In that opinion I would include Baby's parents and sister, the Kellermans and most of the hotel's employees and guests.

Jake Houseman was furious that his money was used to pay for an illegal abortion. Robbie Gould refused to help pay for the abortion. Vivian Pressman was not asked to substitute for Penny at the Sheldrake.

I have written a series of articles arguing that Penny wanted to reconcile with Robbie and thus would have been willing to marry him and raise their child.

Aside from the consideration that abortion kills a fetus, the common wisdom was that abortion -- even when done by a doctor -- was too dangerous to the woman. The opinion about this danger to the woman did not change significantly until the 1960s. For the woman's safety alone, she should carry the fetus to birth and then give the baby up for adoption if she did not want to keep it.

Penny's abortion was done by a person who was said to be a doctor. The abortion caused physical problems in the following hours. On the following day she seemed to be recovering satisfactorily. The movie audience does not know, however, the longer-lasting physical or emotional consequences.

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In many respects, Baby is an admirable character. She is intelligent, caring, bold and adventuresome.

She is also devious, deceptive, and unethical. I have argued that she suffered from a manic-depressive disorder.

Just because Baby Houseman thought that abortions should be legal is not a good reason for everyone else to adopt that opinion. She is a very flawed role model.

Baby is a morally complex character, and Dirty Dancing is generally a morally complex movie. The movie is thought-provoking about many of its aspects.

Pro-lifers can share the public's enjoyment of the movie and can include the movie in effective discussions with other people about the abortion issue.

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.

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.

Disconnected Women - Penny Johnson, Vivian Pressman and Marjorie Houseman

The movie Dirty Dancing begins with a doctor’s younger daughter exclaiming: “I thought I’d never find a guy as great as my Dad!” In the story that follows, this younger daughter Baby lost much of her ability to communicate with her father and transfered her main affection to a young man who worked as a dance instructor. Meanwhile the older daughter Lisa, who had been infatuated with a young man who was a medical student, began to talk much more with the father and then broke off her relationship with her medical-student boyfriend.

For each of these two daughters, their father Dr. Jake Houseman was a safe harbor. Each daughter could transfer her own affection and communication from the father to a young man, but if the relationship with the young man failed, then the daughter eventually could return to her father as a safe emotional haven.

Besides these two daughters, the story features three female characters – 1) Penny Johnson, a dance instructor, 2) Vivian Pressman, an adulterous married woman and 3) Marjorie Houseman, the doctor’s wife and the daughters’ mother. The first two of these women are disconnected, frustrated and angry throughout the story. The third is disconnected and frustrated, but not apparently angry.

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Penny Johnson, the female dance instructor, was kicked out of her home when she was 16 years old by her mother. There is no mention of her father. We can speculate that Penny was the child of an unplanned pregnancy, and we can suppose that she was an extremely rebellious teenager, beyond the control of her unmarried mother.

Penny told Baby what happened after she had been kicked out of her home by her mother:
Penny: I’ve been dancing ever since. It’s the only thing I ever wanted to do anyway.

Baby: I envy you.
Of course, what Baby envied was Penny’s beauty and dancing. Baby was oblivious to Penny’s deprivations and insecurities.

In a conversation with Johnny Castle’s cousin Billy Kostecki, Baby learned that Penny and Johnny were only a platonic, dancing couple now, but that they had been a romantic couple long ago, when they were still “kids”.
Baby: They look great together.

Billy: Yeah. You’d think they were a couple, wouldn’t you.

Baby: Aren’t they?

Billy: No, not since we were kids.
The movie’s dialogue provides several clues about this previous romantic relationship. We already know that Penny had always wanted to dance, that she had been thrown out of her home when she was 16 years old, and that she began working as a professional dancer immediately after she was thrown out of her home. One business that employs dancers is the Arthur Murray company, which teaches ballroom dancing. The movie’s author Eleanor Bergstein worked her way through college by teaching dance in this business. It seems, therefore, that Bergstein created her character Penny Johnson as a young woman who likewise began earning her living, while still a teenager, as a dance instructor in an Arthur Murray business.

(With regard to Penny’s being kicked out of her home, remember that both of Eleanor Bergstein’s parents died when she was in early twenties and that she therefore had to leave her own family home and go live with another family.)

The movie does not describe how Penny Johnson began working as a professional dancer, but it does mention how Johnny Castle was recruited to work as a dance instructor for the Arthur Murray company. When Baby asked Johnny where he had learned to be a dancer, Johnny answered:


Well, this guy came into this luncheonette one day, and we were all sitting around doing nothing. And he said that Arthur Murray was giving a test for instructors. So, if you passed, they teach you different dances, show you how to break them down, teach them.
Apparently, Johnny had been sitting in a luncheonette with a group of people who already knew how to dance well. A recruiter for the Arthur Murray company came into the luncheonette to recruit dance instructors (not dance students). We therefore can speculate that Penny already was working as an Arthur Murray dance instructor and that she knew that Johnny (with whom she had been in a romantic couple when they were still “kids”) and his friends had the dancing ability to become instructors too, and so Penny recommended to her supervisors at Arthur Murray that they go to the luncheonette and recruit Johnny and his friends.

We know from the dialogue that Penny had worked for a while as a Rockette dancer at some time before the story, but apparently she still was working with Johnny as an Arthur Murray dance instructor when the movie’s story takes place.

Based on all these clues, we can speculate further that Penny was thrown out of her home by her mother because of Penny’s relationship with Johnny – when they were still “kids.” Apparently, this relationship was sexual, because a mother does not throw her 16-year-old daughter out of her home because of a puppy-love relationship.

By the time of the movie’s story, however, the relationship between Johnny and Penny had become only platonic. They still worked together as a couple, performing and teaching dance, in the resort hotel. Johnny now was extremely promiscuous, having brief sexual affairs with several of the resort hotel’s female guests every week. And Penny now had fallen in love with Robbie Gould, a medical student who worked as a summer waiter in the resort hotel’s restaurant. Furthermore, Penny has become pregnant from Robbie, and Robbie has abandoned her and has refused to pay for her abortion. Johnny knew about Penny’s predicament and tried to help her as a friend.

Throughout the movie, Penny Johnson usually spoke angrily. In her first conversations with Baby, when Baby was just trying to express her own admiration toward her or to offer helpful suggestions, Penny responded with sarcasm and hostility. At one point, Penny hissed:
Baby? Is that your name? You know what, Baby, you don’t know shit about my problems. …. Go back to your playpen, Baby.
Gradually, however, after Baby provided the money for the abortion and offered to substitute for Penny in a scheduled performance at the other, Sheldrake resort hotel, Penny became civil and then candid with Baby. Penny also helped Johnny teach Baby how to dance.

In one scene, Penny was helping Baby were alone in a locker room as Baby was trying on Penny’s dress that Baby would wear in the performance at the Sheldrake. Baby said was afraid that she would forget her dance moves and techniques during the performance, but Penny reassured her and reminded her to let Johnny lead her.

At that moment, Penny had a lot on her mind, because she would go to the abortionist later that day. Then she said:
Thanks, Baby. I just want you to know that I don’t sleep around, whatever Robbie might have told you. I thought that he loved me. I thought it was something special. Anyway, I just wanted to know that. …. I’m scared. I’m so scared, Baby.
Later, after Dr. Houseman has treated Penny for her abortion complications, Baby and Johnny came to visit Penny, who was lying in bed.

In this conversation Penny spoke nicely to Baby, and then Baby left the room, leaving Penny and Johnny to talk together alone. By this time, Penny has recognized that Johnny and Baby have begun to have a sexual relationship, and so Penny and Johnny said to each other:
Penny (angrily): What are you doing? How many times have you told me, never get mixed up with them?

Johnny: I know what I’m doing.

Penny (angrily): You listen to me. You’ve got to stop it now.
In this conversation, Penny and Johnny are talking about the resort hotel’s rule that employees of their status were forbidden to become involved in intimate relationships with the guests. As dance instructors, Penny and Johnny were the two employees most likely to become involved in such relationships, so the prohibition was especially significant to them. Johnny nevertheless did become involved very promiscuously. He felt he could get away with violating the rule, because “I know what I’m doing,” but he frequently nagged Penny to obey the rule.

This conversation raises two questions.

The first question is what possible relationships had provoked Johnny to nag Penny in the past. It is possible that Penny had involved herself intimately with guests, but the only relationship we know about from the story is Robbie Gould, who at the time of the story was a medical student who worked as a waiter in the resort hotel during that summer. Perhaps Penny and Robbie had begun their relationship in a previous summer when Robbie was still just a guest visiting the resort hotel with his family.

The second question is why Penny objected so strongly to Johnny’s intimate relationship with Baby, when Penny surely knew by now that Johnny promiscuously involved himself with brief affairs with many female guests. What was it about Johnny’s relationship with Baby that caused Penny to warn Johnny so sharply? Perhaps the reason was simply Baby’s young age, perhaps it was that the hotel owners’ attention eventually might be attracted to the situation because of Penny’s abortion or because Baby had replaced Penny at the Sheldrake performance.

In any case , Johnny initially agreed that Penny’s warning was right. Immediately after he left that conversation with Penny, he encountered Baby and indicated to her that he was ending their affair. That resolve did not last long, but it was real for a while.

At the end of the story, Penny was professionally and romantically alone. Her dance partner Johnny had been fired by the hotel’s owner because of Johnny’s relationship with Baby, and Johnny had fallen in love with Baby and had declared his love publicly. Penny’s own future employment was endangered, and even her platonic friendship with Johnny was endangered.

In the meantime, Baby was now Johnny’s dance partner and romantic. Baby would begin attending college in a few weeks, and perhaps she could earn some money by working in her free time as a dance instructor, with Johnny, for an Arthur Murray business near her college. And then in the summers she and Johnny could work as dance instructors at some other resort hotel in the Borscht Belt (as the movie’s author Eleanor Bergstein had worked during her own college years).

Penny herself soon would resume working full-time as a dance instructor for an Arthur Murray business. If there was a shortage of male instructors, then she could suggest some good place, perhaps a luncheonette, where an Arthur Murray recruiter might find some young men who danced well enough to learn how to teach dance. But Penny herself was not getting any younger.

Penny still wanted to get married and start a family. After Dr. Houseman had treated the complications from her abortion, she was very relieved when he told her she still would be able to have children. At the end of the movie, Penny was angry that she still had no prospective husband in sight.

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Vivian Pressman was a middle-aged married woman. The resort hotel’s owner Max Kellerman described her to Jake and Marjorie Houseman as follows:

That’s Vivian Pressman, one of the bungalow bunnies. That’s what we call the women who stay here all week. The husbands only come up on weekends. Moe Pressman’s a big card player; he’ll join our game. He’s away a lot, I know. It’s a hardship.
While staying at the resort hotel during the week, Vivian Pressman paid Johnny Castle for dance lessons and also paid extra for sexual sessions. Johnny said that he had sexual relations with many female guests. At one point Johnny even remarked to Baby that “women are stuffing diamonds in my pockets.”

On the second-to-last night, the night before the talent show, Vivian walked up to Johnny, who was preparing for the talent show, and whispered: “This is our last night together, lover. I’ve got something worked out for us.”

A short time later, Johnny walked by a table where a group of men were playing cards. One of the men, Vivian’s husband Moe Pressman, gave Johnny $100 and said, “I’ve been playing cards all weekend, and I’ve got an all-night game tonight. Why don’t you give my wife some extra dance lessons?”

Obviously Vivian understood that her husband Moe preferred to play cards all night, so she had asked him to pay for dance lessons so that she could have some fun of her own. It’s not clear whether Moe knew and did not care that Vivian was having a sexual affair with Johnny or whether he simply was inattentive and oblivious about her adultery.

By this time, however, Johnny had decided that he wanted to stop his own sexual promiscuity and so he declined to take Moe’s money, saying: I’m sorry, Mr. Pressman, but I’m booked up for the whole weekend with the show. I won’t have time for anything else. I don’t think it’d be fair to take the money.”

Vivian was standing nearby and heard Johnny reject her husband’s money and indicate that he would be too busy preparing the talent show to give any dance lessons. Thus Vivian understood angrily that Johnny would not have another sexual session with her.

Vivian Pressman then arranged to have sex with Robbie Gould instead, and they were seen together in bed by Lisa Houseman when she herself went to Robbie’s cabin to have sex with him for the first time. Lisa was upset and left, leaving Robbie and Vivian alone in the cabin to continue their sexual session. This happened in the early evening. (Eleanor Bergstein mentioned in her running commentary that the scene was filmed “at dusk.”)

Early the next morning as Vivian Pressman was leaving Robbie Gould’s cabin, she saw Johnny Castle and Baby Houseman coming out of Johnny’s cabin. Johnny and Baby kissed, and so Vivian understood that Johnny had declined Vivian’s arrangements because he preferred to spend the night having sex with Baby.

Later that day, the resort hotel’s owner Max Kellerman fired Johnny for stealing Moe Pressman’s wallet. Kellerman explained that Moe’s wallet had disappeared while he had been playing cards all night. Moe was certain that he still had his wallet at 1:30 a.m., when the wallet was in his jacket that he hung from the back of his chair. Then at 3:45 a.m. Moe found that his wallet was missing from his jacket. Later, after Moe Pressman had reported the disappearance to Max Kellerman, Vivian Pressman told Kellerman that she had seen Johnny Castle walk close by the jacket during that night. Max Kellerman then accused Johnny Castle of the theft and fired him.

This sequence of events has some gaps that we can fill in. During the afternoon, Vivian Pressman had arranged for her husband to offer $100 to Johnny Castle for dance lessons, but Johnny refused the money and thus refused the sex session with Vivian. Then Lisa Houseman saw Vivian Pressman having sex with Robbie Gould in Robbie’s cabin at dusk, and so Lisa left. In the middle of the night, Vivian must have left Robbie’s cabin and gone to make a public appearance in the place where her husband Moe was playing cards.

Vivian would have made a public appearance at the gambling table for several reasons: 1) to make sure that Moe still intended to play cards all night, 2) to tell Moe that she was going to their hotel room to sleep, and 3) to get from Moe’s wallet the $100 that Johnny had rejected. Vivian then took the $100 back to Robbie’s room, gave him the money and spent the rest of the night in Robbie’s room. At dawn, she left Robbie’s room and saw Johnny and Baby kissing as they exited Johnny’s cabin.

Later that morning, when Moe told Vivian that his wallet was missing, Vivian responded that she had seen Johnny standing near the jacket, which was hanging from Moe’s chair. Therefore, Johnny was accused of the theft. This all happened before breakfast, because Max Kellerman told the Housemans during breakfast that he intended to fire Johnny for the theft.

Practically the entire audience of the movie assumes that Vivian incriminated Johnny in order to get revenge because Johnny had preferred to spend the night with Baby. I think, however, that a kinder explanation can be proposed. It’s hard for me to believe that Vivian really was so deliberately vindictive toward Johnny.

I think that when Vivian went to see Moe at the gambling table at 1:30 a .m., she did not steal the $100 from Moe’s wallet, but rather simply asked Moe openly for the money. Vivian told Moe that Johnny had found time after all, after the talent-show rehearsal, to give Vivian a dancing lesson after midnight. The lesson had just finished, and so she wanted to pay Johnny the promised $100 and then go alone to their hotel room to sleep. Vivian then returned to Robbie’s room and gave the money to Robbie.

Later, when Vivian was discussing the missing wallet with Moe, Vivian confirmed to him that she had seen the wallet in his possession at 1:30 a.m., when he had given her the $100 for Johnny. In order to strengthen her story, she even assured Moe that Johnny too had been with her right there near Moe’s chair, even though Moe had not noticed him. Later when Max Kellerman heard Vivian’s story, he concluded falsely that Johnny had stolen the wallet. But Vivian never had intended for anyone to blame Johnny. Vivian Pressman was not such an evil person. Rather she was a person whose dissatisfaction had led her into adulterous activities that eventually would cause problems for herself or for people around her.

The wallet was stolen by the Schumachers, an old couple who regularly visited resort hotels and stealing wallets from other guests. They must watched the card game very attentively and seen Moe Pressman give Vivian Pressman the $100, put his wallet into his jacket, and hang his jacket from his chair. Sometime after that time, 1:30 a.m., and 3:45 a.m., they stole the wallet from the jacket.

The Schumachers eventually were caught because Baby previously had noticed two wallets fall out of Ms. Schumacher’s purse and also had noticed the Schumachers at the Sheldrake resort hotel, where several wallets had been stolen. Based on this new information from Baby, Max Kellerman gave the police two drinking glasses that the Schumachers had used. The police took fingerprints from the drinking glasses and found that warrants had been issued for the arrest of the Schumachers for stealing from guests at resort hotels in Florida and Arizona.

We can suppose that Doctor Houseman pressured Max Kellerman to continue the investigation of the theft based on Baby’s new information. Max Kellerman already had made up his mind that Johnny Castle was guilty. Since, however, Doctor Houseman had saved Kellerman’s life when Kellerman had become sick with high blood pressure during a previous summer, Kellerman felt morally obligated to comply with Houseman’s insistence that Baby’s information be taken seriously. Doctor Houseman himself took Baby’s information seriously because he recognized how embarrassed she had been to admit to him, her father, that she had spent the night with Johnny.

Thus, toward the end of the movie, Vivian Pressman set dramatic, consequential events into motion when she asked her husband Moe Pressman for $100. At the beginning of the story, Baby Houseman had likewise set dramatic, consequential events into motion when she had asked her father Doctor Houseman for $250. These two incidents when women asked for money – once from a father and later from a husband – for secret, illegitimate activities provide a parallel and balanced structure to the story.

At the end of the movie, during the talent show, when Johnny took Baby up onto the stage to perform their dance, Vivian Pressman is seen in a front row sitting alone. Next to her is an empty chair, where her husband should be sitting. (Probably he has learned that she lied about Johnny Castle being at the gambling table and receiving the $100.) Vivian looks morose and angry, although all the surrounding audience, sitting as couples and families, looks happy.

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Marjorie Houseman, the wife of Dr. Jake Houseman and the mother of Lisa and Baby, plays a small role in the story. Jake Houseman keeps secret from her all the events and considerations involving Baby, the abortion money and the abortion complications. Jake even orders Baby to wipe the makeup off her face before her mother sees it. Marjorie also seems to be completely unaware of Baby’s romance with Johnny and of Lisa’s romance with Robbie.

Perhaps the original script included a larger role for Marjorie. Many scenes were cut because the movie was becoming too long. In addition, the actress who originally was supposed to play Marjorie became sick during the first week of filming after, so various changes had to be made unexpectedly. Kelly Bishop, the actress who was supposed to play Vivian Pressman was moved into the role of Marjorie Houseman, and Miranda Garrison, an assistant choreographer, replaced Bishop as Vivian Pressman. Perhaps some of Marjorie Houseman's role was diminished in these changes.


Marjorie Houseman is a homemaker who has raised two daughters. She always has hoped that her daughters will be able to fulfill themselves in ambitions careers. She named her younger daughter (Baby) Frances, after Frances Perkins, the first woman member of a Presidential Cabinet; the Secretary of Labor under President Franklin Roosevelt was Frances Perkins. (In the author 's own real family, Eleanor Bergstein was named after Eleanor Roosevelt and her sister Frances was named after Frances Perkins.)

In the movie's story, the oldest daughter already is attending college, and the younger daughter will enroll as a college freshman right after this summer vacation. Marjorie’s husband is a doctor who is wealthy enough to give his daughter $250 (1963 dollars) for no explained reason. Marjorie therefore will not have to get a job. Marjorie is entering a new period of her life in which she will have to re-define her own purposes and activities.

Perhaps Marjorie Houseman will become frustrated and angry. Perhaps her own marriage will become like the alienated hostile marriage between Vivian and Moe Pressman. Early in the movie, we see an entertainment show for the resort hotel’s guests. A male comedian tells a joke: “I finally met a girl, exactly like my mother – dresses like her, acts like her – so I brought her home. My father doesn’t like her!”

Later in the movie, Marjorie and Jake are putting golf balls, and Jake jokes to Baby: “If your mother ever leaves me, it’ll be for Arnold Palmer.” Apparently, Jake already senses some alienation and dissatisfaction in Marjorie.

In the original script, the scene was supposed to show Marjorie as the better golfer, and she was supposed to give Jake tips about improving his putting. Since, however, the actor playing Jake sank an amazing put, the scene was redone so that he gave her the tips. In that context Jake’s joke about Marjorie leaving him for Arnold Palmer made much more sense.

Perhaps the best expression of Marjorie Houseman's personality occurs in the last scene, when Johnny Castle has invaded the talent show and had grabbed Baby and was leading her to the stage to perform their dance. At that moment, Jake Houseman stood up to stop Baby, but Marjorie grabbed Jake and made him sit back down. Then when Baby began to dance brilliantly with Johnny on the stage, an admiring Marjorie says to Jake, "I think she gets this from me."

At this moment we can appreciate that Marjorie is much more relaxed than Jake about Baby's efforts. Marjorie is willing to watch Baby take some risks in her personal life. She seems to accept calmly the revelation that Baby has become personally involved with the dance instructor and become his dance partner. Marjorie genuinely admires Baby's dancing but feels that she herself possesses similar talents and spirit. When she sees Baby's accomplishment, she can honestly boast, "I think she gets this from me."

For Marjorie, the story ends very happily. She feels confident about her daughters' future accomplishments and probably also about her own.