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Showing posts with label Jewish. Show all posts
Showing posts with label Jewish. Show all posts

Saturday, January 3, 2009

Roger Ebert Panned Dirty Dancing

When the movie Dirty Dancing opened, critic Roger Ebert's review (August 21, 1987) was mostly negative.

... The movie makes some kind of a half-hearted attempt to rip off West Side Story by making the girl Jewish and the boy Italian - or Irish, I forget.

It doesn't much matter, since the movie itself never, ever uses the word "Jewish" or says out loud what obviously is the main point of the plot: the family's opposition to a Gentile boyfriend of low social status. I guess people who care about such things are supposed to be able to read between the lines, and the great unwashed masses of American moviegoers are condemned to think the old man doesn't like Swayze's dirty dancing.

This might have been a decent movie if it had allowed itself to be about anything. The performances are good. Swayze is a great dancer, and Grey, who is appealing, also is a great dancer. But the filmmakers rely so heavily on cliches, on stock characters in old situations, that it's as if they never really had any confidence in their performers.

This movie could have been about the subjects it pussyfoots around so coyly. It could have found a big scene a little more original than the heroine stepping in for the injured star. It could have made the obnoxious owner's son less of a one-dimensional s.o.b. But the movie plays like one long, sad, compromise; it places packaging ahead of ambition. Where did I get that idea? I dunno. Maybe from the title.

Ebert did like the performances of Grey and Swayze, especially their dancing, but he dismissed Dirty Dancing's story as a cliched variation of two types of previous stories:

  • Stories in which a young couple's love is hindered by ethnic taboos or parental conflicts. West Side Story, Romeo and Juliette and Fiddler on the Roof are examples of such stories.

  • Stories in which an ambitious understudy gets an opportunity to play the main role in a theater performance when the star cannot perform because of an illness, injury or other misfortune. This was the story in, for example, several Busby Berkley movies during the 1930s and in the popular Broadway play 42nd Street.

Ebert's did make an interesting observation about Dirty Dancing perhaps being inspired to some extent by previous stories of those two types but he was wrong to dismiss this movie as a cliched, trite failure. The story in Dirty Dancing is quite novel, contemporary and rich.

With regard to the West Side Story example, the Jewish taboo against falling in love with and marrying Gentiles indeed is part of the Dirty Dancing story, but this element is so subtle that probably most of the audience ramains completely unaware of its presence in the movie. Ebert criticizes that very subtlety, but in fact the taboo was subtle in a modern Jewish family such as the Housemans.

With regard to the 42nd Street example, Baby Houseman does substitute for an established star, but Baby has no aspirations to become a professional dancer. Baby's situation and motives are quite complicated. She even tries to keep her substitute performance secret from her own family, and the entire situation complicates her relationship with her father and sister.

Ebert's review of Dirty Dancing failed because he tried to fit this movie into patterns of many other movies he had seen instead of appreciating the stories many subtleties and novelties.

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.

Saturday, December 27, 2008

The Resort Hotel's Employees

None of Dirty Dancing’s dialogue mentions that anyone is or is not Jewish or addresses any particular Jewish concern. The overwhelming majority of the people who have watched this movie have not perceived that it takes place in particular Jewish cultural institution or that it has anything at all to do with Jews or Jewish concerns.

In fact, that very absence of Jewish concern is a major reason that the Borscht Belt disappeared. By the mid-1960s the Jewish population of New York had assimilated and prospered into American society. They could go to any resort and enjoy real upper-class life, not just a Jewish imitation. Every Jewish family had a television and could watch successful Jewish performers every day. Even the families that still did visit the Borscht Belt did so more as a familiar, family tradition that had become devoid of Jewish consciousness. Jewish families still preferred that their children eventually marry other Jews, but they also preferred that their children finish their higher educations first, so the Jewish parents’ mingling of their Jewish teenage children during summer vacations had lost its urgency.

A major irony of the Dirty Dancing story is that the main character, a 17-year-old girl in a prosperous family that is visiting such a resort hotel, prefers to spend her time and energy socializing with the employees who live in cabins behind the hotel and who dance in a vulgar, “dirty” manner in a dilapidated warehouse or in a remote forest, meadow and even a lake. For this girl, the cultural enrichment she acquires during her vacation is her encounter not with upper-class WASP (White, Anglo-Saxon Protestant) society, but rather with a lower-class society comprising Irish (e.g. Johnny Castle), Puerto Rican, Negro and various mongrel dregs.

The resort hotel where the movie takes place is called Kellerman’s, and it is owned by a man named Max Kellerman, played by a 63-year-old actor (Jack Weston). He apparently owns two such hotels, the other one being called The Sheldrake. Max Kellerman is assisted by his grandson, Neil Kellerman, who intends to enroll soon in the Cornell School of Hotel Management and who appears to be about 20 years old. This grandson Neil indicates in a remark that he already considers himself to be the owner of the two hotels, foreseeing that his grandfather will retire when he himself graduates from Cornell.

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The hotel employs a big-band orchestra, which seems to comprise mostly Cubans of African ancestry. We can assume that this orchestra alternates evenings between the two hotels and that the orchestra members do not do any work at the hotels besides playing music.

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.

Several of the employees who live in the cabins and who dirty-dance in the warehouse are African Americans, but they probably are not orchestra members, who are older and are busy playing their music in the evenings while the young employees are dirty-dancing.


The orchestra conductor is about Max Kellerman’s age, and Max Kellerman seems to treat him as a social peer. We should understand that the orchestra members are an upper and distinct social class of the hotel’s employees. The orchestra members are older and are professionally established, and they rest during the mornings and days and work during the evenings and nights.

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Another category of employees works in positions that interact directly with the guests. For example, the movie dialogue mentions explicitly that the restaurant waiters are college students who work in the hotel during their summer vacations. We can suppose that this employee category includes also receptionists, social-activity leaders, life guards, and so forth. Most such employees were former guests who had visited the resort in younger years with their families.

In a scene that follows soon afterward, Mr. Kellerman is instructing the restaurant waiters about their conduct rules during their employment. He tells them:

You waiters are all college guys, and I went to Harvard and Yale to hire you. And why did I do that? Why? I shouldn't have to remind you. This is a family place. That means you keep your fingers out of the water, hair out of the soup, and show the goddamn daughters a good time -- all the daughters, even the dogs. Schlepp 'em out to the terrace, romance 'em any way you want. Got that, guys?

Although these employees are only waiters at the hotel, they are university students and also (although not stated in the dialogue) Jews who might be appropriate marriage candidates for the young women among the guests. Furthermore, the Jewish parents might even welcome romantic interest from such employees toward their daughters. One of the waiters, named Robbie Gould, is a medical student, and so he is treated very warmly by the family father, who himself is a doctor. It is apparent that the father considers this medical student to be a good romantic prospect for either of his two daughters.

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As Mr. Kellerman is completing his instructions to his waiters, another group of male employees walks through the restaurant, and Mr. Kellerman instructs them differently:

Well, if it isn't the entertainment staff. Listen, wise ass, you got your own rules. Dance with the daughters. Teach 'em the mambo, the cha-cha, anything they pay for, but that's it, that's where it ends. No funny business, no conversations, and keep you hands off.

This second group of male employees is dressed in matching shirts and is carrying guitars in cases, so it is apparent that they are a musical band. One of this group is dressed differently than the others, and he is the one who Kellerman addresses as “wise ass” and instructs about how to conduct himself with the guest families’ daughters.


Mr. Kellerman addresses this second group as “the entertainment staff” but later in the movie we see some of them doing ordinary jobs on the hotel grounds. We can suppose that some of them cook and wash dishes in the kitchen, clean floors, mow the grass and do other such jobs. In fact, they might not be paid at all by the hotel for playing music as a band. They play in the band only for tips and for the opportunity to acquire some public exposure as a band. Probably they can use the stage on the evenings when the orchestra plays at the other hotel. Their exposure provides them with some possibilities that some families might hire them later to play at Bar Mitzvah, wedding and anniversary parties. Apparently there is also a shortage of male guests at the dance classes for the guests, and so these band members fill in only as needed to correct the male-female ratio for partner dancing but are not supposed to socialize further with the female guests.

(We never see this band play in the movie. The DVD’s commentaries and interviews inform us that the producers had great difficulty convincing Patrick Swayze to accept the role of Johnny Castle, and furthermore Swayze’s own agent advised him against accepting the role. Eleanor Bergstein, the movie’s author, in her running commentary, reminisces about how, before the filming began, Swayze gave her a tape recording of a song, titled She’s Like the Wind, that Swayze had written and performed with a band that he headed in his real life. Therefore I speculate that in order to convince Swayze to accept the role, the producers agreed to provisionally include a scene where Swayze would perform his song with his band. Apparently the scene was removed from the movie’s final version, but the earlier scene where the band encountered Mr. Kellerman remained. As a consolation to Swayze, his song was included in the soundtrack.)

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Such a hotel would hire also a lot of female employees to work as housekeepers to clean the rooms. We never see Mr. Kellerman address them, but we do see them hanging around in and around the cabins and dancing in the warehouse.

These ordinary male and female employees – who cook and wash dishes in the kitchen, who clean the floors and do repairs, who mow the grass, who clean the rooms, etc. – were not supposed to socialize with the guests. A major reason for this restriction is that these employees were not Jewish, a fact that is obvious from their appearances – many are African-American or Hispanics.

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Two of the employees – Johnny Castle and Penny Johnson – are professional dancers, and they comprise an employee category of their own. They work as professional dancers only during the summers at the resort hotel. Johnny Castle, for example, works primarily as a house painter during the rest of the year. Their employment at the resort hotel comprises several elements:

  • They performed special dances for the hotel guests while the orchestra played. They did so at both hotels.

  • Then they encouraged the hotel guests to dance while the orchestra played. They were available to give special dance lessons to guests who were willing to pay for such lessons.

  • They organized and conducted a talent show that was performed on the final night. Hotel employees were required to participate in the talent show and guests were encouraged to participate.

  • They taught the employees to do group dances that were part of the talent show.


An early scene shows Johnny Castle and Penny Johnson dancing together spectacularly during a ballroom dance on the new guests' first evening at the hotel. Neil Kellerman remarked (to Baby Houseman) that they should stop dancing with each other and start dancing with the guests, because they would not sell dance lessons if they danced only with each other. Thus it seems that the hotel received a cut from the dance lessons that the professional dance instructors sold.

Since these dance-instructor jobs involved much socialization with the guests, the hotel owners would have preferred to hire Jews for these positions, but there simply was a shortage of Jews who could dance so expertly. Therefore non-Jews were hired, but they were supervised closely.

The movie includes several instances of such close supervision by Max Kellerman or by his grandson Neil Kellerman. In one instance, Max Kellerman motioned angrily to the two professional dancers that they should stop their dance performance and begin encouraging the guests to dance. In another instance, Neil Kellerman intruded without knocking into a room where Johnny Castle was giving a private dance lesson to the 17-year-old female guest. Neil Kellerman remarked that the dance lesson must last exactly as long as the time that the guest has paid for and also insisted that the talent show’s group dance by the employees be done in a dance style that Johnny Castle had rejected.

The two dance instructors have non-Jewish names – Johnny Castle and Penny Johnson – and they have personal appearances that are far from Jewish stereotypes.

When Penny Johnson became pregnant after an affair with the waiter Robbie Gould, she and Johnny Castle feared that they might be fired by the Kellermans as a consequence. One reason, which is not stated, was that the Kellermans valued the Jewish medical student Robbie Gould more as an employee than they valued the non-Jewish professional dancer Penny Johnson. If the pregnancy became known, then there would not be enough room on the hotel staff for both Gould and Johnson, and so Johnson would have to go. Gould came from a Jewish family that had been regular customers of the hotel for many years, and now he was attractive to Jewish families who had daughters who were entering a marriageable age.

Another problem caused by Johnson’s pregnancy was that she would not be available to dance in the hotel’s special performances. The pregnancy itself eventually might have prevented such performances, but the problem that developed in the movie was that she decided to have an abortion that had to be performed on a particular night when such a performance was scheduled. This situation led to a decision that the 17-year-old guest would learn the dance sufficiently well to substitute for Johnson on that one night. Many employees were young females, but none of them are available to learn the dance because they all were too busy cleaning the rooms during the days and preparing for the talent show during the evenings.

Since Penny Johnson was a couple months pregnant and since the story took place at the end of the summer, she apparently became romantically involved with Robbie Gould at the beginning of the summer or even during a previous summer while they were both working at the hotel. Penny Johnson sincerely loved Robbie Gould and expected to marry him, especially after she became pregnant. She was an extraordinarily beautiful and talented woman, but Robbie Gould could not consider marrying her, because she had not even graduated from high school and (although not stated) she was not Jewish.

Although Penny Johnson's status on the hotel resort's staff was much higher than the status of the female employees who worked as housekeepers and other such ordinary positions, she was subject to the same sexual rules probably applied to her and to all such female employees. They were forbidden to involve themselves in personal relationships with the male guests or20even with the Jewish male college students who worked as waiters, and any scandals were grounds for immediate firing.

The producers originally had selected an Italian-American actor to play the role of the male professional dancer. The producers soon decided that this first actor would not be able to dance as well as they expected, so they eventually replaced that actor with Patrick Swayze. The author Eleanor Bergstein indicated in her running commentary that this character thus ceased being an Italian-American character and instead became an Irish-American character. None of the dialogue indicates that this character is Irish-American, and the name Johnny Castle is not distinctively Irish, but perhaps this point was made by some dialogue that did not survive into the movie’s final version.

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One of the movie’s characters is Johnny Castle’s young cousin, Billy Kostecki, whose name is Polish (indicating the employees’ mongrel pedigrees). In some previous summer, Johnny Castle had convinced Max Kellerman to hire Castle’s cousin Billy Kostecki to do odd jobs at the hotel. Kostecki was about the same age as the 17-year-old female guest and apparently had began a platonic friendship with her during a previous summer when they both were quite young.

Billy Kostecki plays what the author Eleanor Bergstein describes as an "expository role" in the screenplay. At various moments, he explained the developing situation to the young female guest and thus to the audience. In particular, he told her that Penny Johnson had become pregnant and then later that the pregnancy was caused by an affair with the medical student Robbie Gould. In some other moments, Kostecki's explanations advanced and clarified the story conveniently for the audience.


Billy Kostecki also serves as a means to bring the young female guest into the employees' secret world. Kostecki was supposed to carry three watermelons from the kitchen to the remote warehouse where the employees were supposed to be practicing dances for the talent show. He was not able to carry all three watermelons safely, however, so when he noticed the young female guest, he asked her to help him by carrying one of the watermelons. Thus she accompanied him to the warehouse, where she saw and joined the employees, who have been doing their own dirty dancing instead of practicing for the talent show. Without Kostecki's role, the young female guest never would have gone into that warehouse and become involved with the other employees.

The Borscht Belt

Every time I have watched Dirty Dancing, I have enjoyed its depiction of a subculture that has practically disappeared. In the Catskill Mountains, in the counties north of New York City, there was a large number of vacation resorts that were visited regularly by the city’s citizens. Some of these resorts attracted particular ethnic groups.

In particular, there was a group of resorts, called The Borscht Belt, that attracted Jewish Americans who lived in New York City. This Jewish clientele also called this area The Jewish Alps and Solomon County (a comic mispronunciation of Sullivan County).


In the first half of the 20th Century, there was a lot of discrimination and resistance against Jewish encroachments into WASP society, especially into the upper classes. Fancy hotels and resorts did not welcome Jewish guests and sometimes even refused to rent rooms to people who had obviously Jewish names and accents. Therefore there was a real demand for resorts where Jews felt they were welcomed and treated with dignity.

In addition, the resorts offered entertainment programs in the evenings. A good resort would employ an orchestra that would play live music for ballroom dancing. The Jewish guests enjoyed these entertainment programs all the more if they included the singing of Yiddish songs, the dancing of Jewish dances, and the telling of Jewish jokes. Many Jewish-American singers and comedians performed in these resorts before they became famous. Such comedians include Joey Adams, Woody Allen, Morey Amsterdam, Milton Berle, Shelley Berman, Mel Brooks, Lenny Bruce, George Burns, Red Buttons, Sid Caesar, Bill Dana, Rodney Dangerfield, Phyllis Diller, Totie Fields, George Gobel, Shecky Greene, Buddy Hackett, Danny Kaye, Alan King, Robert Klein, Jerry Lewis, Jackie Mason, Carl Reiner, Don Rickles, Joan Rivers, Allan Sherman, Jonathan Winters, and Henny Youngman.


Families would visit the resorts for a couple of weeks every summer for cultured activities. They would learn to play golf and volleyball, to do ballroom dancing and other such activities that socially upwardly mobile people should learn how to do. Dirty Dancing has one interesting scene where female guests learn how to put on cosmetics and style their hair.

During that scene there is an announcement over a loudspeaker, saying that a rabbi will give a lecture about the psychology of insult comedians. This is perhaps the movie's only explicit reference to the Jewish character of the resort hotel's guests.

There was a kind of dress code that included semi-formal clothing for evening activities, which included performances by comedians, singers and other entertainers from New York nightclubs. At the end of the stay, the guests and temporary employees were encouraged to participate in a talent show.

When the children of such families reached college age, many of them got summer jobs in these same resorts that they had visited as guests. They worked as waiters, life guards, activity leaders, and so forth. They were hired because they were familiar with the resort’s relationships and interactions with the guests. One of the key characters in Dirty Dancing is a college student who has been accepted into medical school and who is working as a waiter in the resort’s dining room during his summer vacation.

The adolescent guests commonly became involved in brief romances during these stays. Of course, that was natural and fun for the adolescent guests, but the hotel managements strictly prohibited the staff members, in particular the college-age, temporary workers, from engaging in such romances with the younger, high-school-age guests. This situation is a central element in Dirty Dancing’s plot.

These Catskill resorts blossomed during the years from about 1950 to 1965. Afterwards, they gradually became unprofitable and went out of business. One major reason is explained in the last scene by the resort owner, who owns two such resorts. In a conversation with the resort’s band leader, the owner explains that travel to Europe was becoming so cheap and convenient that more and more families were deciding to spend their summer vacation weeks visiting Europe. The families’ teenage children were becoming bored with the annual visits to the same resorts, and so they begged their parents to go to Europe instead. The parents themselves found that such travel provided a much more educational and cultural experience for their children, and so they agreed. Once a family broke its annual habit of visiting its summer resort, the family usually did not return to its resort in subsequent years.

After the decision to make the movie Dirty Dancing had been made, the producers traveled around in the Catskills Mountains looking for such a resort that they could rent for a summer in order to make the movie. To their dismay, they found that only a couple such resorts -- catering mostly to unassimilated Orthodox Jews -- were still in business. None of those still functional resorts was willing to risk losing its still regular summer clientele forever by renting itself for a movie production. The producers found several former resorts, but the all the buildings and grounds were in bad repair after years of abandonment. Since the film’s production budget was only $5 million, the producers could not afford to do the necessary re-construction, painting and landscaping that would have been necessary to restore one of these abandoned resorts to its former glory.

Another consideration was that the leaves in northern New York beginning turning colors already in the late summer. The producers feared that in some scenes the background trees would be totally green and in other scenes the trees would be turning yellow. Likewise, the grass on the resort lawns would be lush green and then browning.

Therefore, the producers looked at similar resorts farther south, in Virginia and North Carolina. In these area too, such resorts were going out of business, but the producers found a couple that still could be used for the movie. A Virginia resort still had a magnificent façade and front lawn and an upkept interior, and a North Carolina resort had a beautiful back side and an authentic area with small cabins for the resort staff. The latter area was important, because much of the movie takes place around and in the cabins inhabited by the hotel’s temporary summer workers – the waiters, dance instructors, etc. The producers therefore rented both resorts and filmed in both locations.


There is a small bridge over a brook that the actors cross several times in the movie. The audience perceives that the actors are walking back and forth between the front and back of the resort, but it would be more accurate to say that they are walking through a space warp that transports them instantaneously between Virginia and North Carolina.

The Virginia resort still had some beautiful white, wood fences from this brook to the resort's main building. Whenever the film crew moved from one location to the other, the crew would take these white fences apart and take them along to the other location, where the fences would be reassembled to give the viewers a false impression that the fences extended from both banks of the brook. On the North Carolina location, the white fences were set up to extend from the brook to the temporary employees' cabins.



When the producers contacted the owners of the North Carolina resort with an rental offer, they found that the owners already had sold the entire property to be subdivided. In fact, bulldozers already had begun to re-arrange the terrain. This bulldozing was stopped in the nick of time, and grass was replanted over bulldozed areas that might appear in the film. In a few such areas, the new grass did not re-grow fast enough, so the film crews spray-painted the dirt green right before the actual filming. After the filming was completed, the subdivision of the property resumed immediately, and all traces of that resort disappeared in the following months.

The Virginia resort has continued to exist to the present, but only because the movie turned out to be such a popular success. The resort still advertises itself as the location where the movie Dirty Dancing was made, and most of its clients come and stay there just for that reason. A stay in the resort includes guided tours of the facility, and the guests can look into the rooms were Patrick Swayze and Jennifer Grey supposedly lived during the filming. There is an evening entertainment program reminiscent of the program depicted in the movie. A souvenir shop sells books, DVDs and other mementos related to the movie and its stars.

Bit 03 - Instructions to Male Employees




Date of Scene

Saturday, August 10, 1963

At dusk


Scene Description

Baby alone leaves the Houseman family's suite, which is a separate cabin in a hill. She yells that she is "going up to the main house to look around".

She is dressed in the party dress that she will be wearing later in the evening at the family's dinner in the restaurant and at the ballroom dance. Over that party dress she is wearing a long sweater.

Baby walks quickly across a large lawn that separates her family's suite from the main building. The yard is empty of people.

Baby comes onto a back porch of the main building and peeks through a back door into the restaurant.

Baby sees that Max Kellerman is talking to a group of young men who work in the restaurant. The restaurant soon will open for dinner guests, but no hotel guests are in the restaurant yet.

Max is lecturing to the young men -- who are "college guys" -- to romance the guests' adolescent daughters.

During Max's lecture, Johnny Castle and his musicians enter the restaurant, passing through to some other place. Johnny mocks Max's lecture, remarking "Got that, guys?"

Max tells Johnny and the musicians -- the so-called "Entertainment Staff" -- that they are governed by different rules related to the female guests. The Entertainment Staff is prohibited to socialize with the female guests.

 Johnny and Robbie Gould, one of the waiters, taunt each other.



Dialogue

Baby Houseman
Mom, Dad, I'm going up to the main house to look around.

(Baby rushes across a large yard and goes to an obscure, back door of the hotel's main building.)

Max Kellerman
(Addressing a group of young men who work in the hotel's restaurant)
There are two kinds of help here. You waiters are all college guys, and I went to Harvard and Yale to hire you.. And why did I do that? Why? I shouldn't have to remind you. This is a family place. That means you keep your fingers out of the water, hair out of the soup, and show the goddamn daughters a good time. All the daughters. Even the dogs. Schlepp them out to the terrace, show them the stars. Romance them any way you want.

Johnny Castle
(Entering the restaurant with his musicians and addressing the restaurant workers listening to Max's lecture) 
Got that, guys?

Max Kellerman
Hey, hold it! Hold it.

(Addressing Johnny and the musicians)

Well, if it isn't the entertainment staff. Listen, wise ass, you got your own rules. Dance with the daughters. Teach 'em the mambo, the cha-cha, anything they pay for.That's it. That's where it ends. No funny business, no conversations, and keep you hands off!

A musician named Rodriguez
It's the same at all these places. Some ass in the woods, maybe, but no conversation.

Max Kellerman
Watch it, Rodriguez.

Robbie Gould
Do you think you can you keep that straight, Johnny? What you can and can't lay your hands on?

Johnny Castle
Just put your pickle on everybody's plate, and leave the hard stuff to me.



Song Lyrics

No lyrics, but a piano plays the "Time of My Life" melody as Baby is walking across the yard and onto the main building's porch.



Remarks

The preceding scene has been deleted. In that deleted scene, Lisa and Baby Houseman are dressing in their hotel bedroom.

Unknown to her family, Baby has accepted Billy Kostecki's offer to earn some money by working as the magician's stooge at the magic show that will be performed in the ballroom later that evening. Billy has instructed Baby to meet the Entertainment Staff at a set time in the main building to practice the magic show.

Baby goes to the main building at the set time to meet the Entertainment Staff secretly. She peeks through a back door to await the Entertainment Staff's arrival.

While doing so, Baby overhears Max lecturing to the restaurant's male employees that they should romance the resort's adolescent guests.

During Max's lecture, Johnny and his fellow musicians -- the Entertainment Staff -- enter the restaurant.

The ensuing dialogue reveals that there are a status difference and a personal hostility between the restaurant staff and the Entertainment staff.

The status difference never is explained by the movie, but the difference is that the restaurant workers have been recruited by Max because they are Jewish young men attending prestigious universities. Practically all the resort's guests are Jewish families, and the parents will be pleased if their adolescent daughters become engaged with such Jewish young men.

In his lecture to the young Jewish men, Max uses a Yiddish verb, to shlepp which in English means to drag. He tells the Jewish young men to shlepp even the ugly Jewish girls out to the terrace.

One of the musicians is called Rodriguez. He probably is a Cuban immigrant, because many Cubans fled to the United States at the beginning of the 1950s.

Johnny's remark that Robbie should "put your pickle on everybody's plate and leave the hard stuff to me" is a sexual joke. The idea is that Robbie's genital erection would not be hard enough to accomplish sexual intercourse.