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Showing posts with label Lisa Houseman. Show all posts
Showing posts with label Lisa Houseman. Show all posts

Wednesday, November 15, 2017

I think she gets it from me!

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



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

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

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

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

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

Marjorie boogie-dancing with Neil

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

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

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

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


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

Marjorie Houseman
No, Baby, you don't.

I know about this. I really know.

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

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

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

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

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

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

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

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

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

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

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

Tuesday, November 7, 2017

My Speculations About the Talent Show in the Original Script

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Based on my speculation, I hypothesize this story.

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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This article follows up four previous articles.

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

2) My Speculations About Eleanor Bergstein's Original Script

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

4) My Speculation About the Construction of the Story

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.

Sunday, December 28, 2008

The Houseman Family's Moral Concerns

The movie Dirty Dancing begins with a view inside an automobile, as the Houseman family was traveling to a three-week summer vacation at a resort-hotel in the Borscht Belt. The father was driving, and the mother was sitting idle in the passenger seat. In the back, the younger daughter Baby was sitting behind the father and reading a book about the economics of peasant society, and the older daughter Lisa was sitting behind the mother and looking in a mirror and rearranging her hair style.

Then Baby put down her book and happily threw her arms around her father’s neck, causing her father to smile happily. Then Baby spoke as a narrator from the future:

That was the summer of 1963, when everybody still called me “Baby” and it didn’t occur to me to mind. That was before President Kennedy was shot, before the Beatles came, when I couldn’t wait to join the Peace Corps, and I thought I’d never find a guy as great as my Dad.

The car radio played the song Big Girls Don’t Cry. The story that would follow was a family drama involving the father and his two daughters. Both daughters wanted to find a guy as great as their Dad, a medical doctor. As the daughters actually became involved intimately with young men, however, their relationships with their father were ruptured. The older daughter Lisa already had become so self-involved in her efforts to attract a young man that she and her father had difficulty with talking with each other seriously and candidly. The younger daughter Baby, however, intended to defer her romantic efforts until some still far future year, after she would graduate from college and then serve in the Peace Corps. Therefore Baby and her father still talked with each other seriously and candidly, uninhibited by any secrets involving sexual desires and activities with young men.

The story would not involve the mother significantly but would, as a minor theme, depict the exclusion, alienation and frustration of middle-age women.

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The revolves around the younger daughter falling in love with a young man and therefore losing her ability to talk seriously and candidly with her father. The rupture in communications between this daughter and father began with a moral conflict involving Baby’s request to her father for $250 to pay for an illegal abortion for a young woman who was a stranger to their family. Although this moral conflict was initiated by Baby, this conflict troubled mostly Dr. Houseman – as a doctor and as a father.

The story never addresses the questions of whether abortion itself is moral and should be legal, whether the fetus is a life that should be protected. Rather, the story depicts the problems caused by the secrecy surrounding abortion. The situation compelled Doctor Houseman to maintain several secrets for professional and family reasons, and this secrecy prevented him from asking questions that might clarify the situation, prevent misunderstandings and focus his moral judgments accurately.

For Doctor Houseman, the secrecy surrounding the unexpected abortion was a precursor to the secrecy surrounding his daughters’ new sexual desires and activities. All these secret situations crippled the father’s ability to communicate effectively with his daughters and wife. For Baby, this summer eventually would turn out to be a joyous time, celebrated by the movie’s theme song The Time of Your Life. For her father, however, the summer would be a time of continuous moral conflict, criticism and confusion.

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Baby asked her father for $250 (in 1963 that amount was much more significant than it is now) to pay for an illegal abortion for the dance instructor Penny Johnson. When he asked what the money was for and whether it was for something illegal, Baby responded only that she needed the money to help someone and that it was not for something illegal. He then gave her the money without asking any further questions.

Although Baby had been told that the abortion would be performed by a real doctor, she surely knew that it was illegal. As it turned out, the abortionist was not a real doctor, and he botched the abortion and caused Penny to suffer painful and dangerous complications. Therefore Baby had to ask her father to treat Penny, and so he learned the truth about how his money was used.

This situation posed several serious problems for Dr. Houseman. His money had been used to pay for an illegal abortion, which endangered the woman’s life. The woman then refused to go to a hospital because she was afraid the police would be notified. Therefore Dr. Houseman had to provide medical treatment to her secretly in her employee cabin at a resort hotel where she worked. Furthermore, Dr. Houseman was a friend of the resort hotel’s owner, who employed the woman and owned the cabin.

After Dr. Houseman finished treating Penny and left the cabin, Baby tried to apologize and explain. However, Dr. Houseman interrupted Baby’s explanation and forbade her to continue any more associations with the resort hotel’s employees. At this point, because he did refuse to hear Baby’s explanation, the moral fault in the developing situation shifts from Baby to Dr. Houseman.

In addition to preventing Baby’s explanation, Dr. Houseman decided not to tell his wife about the situation. He angrily told Baby: “I won't tell your mother about this. Right now I'm going to bed. And take that stuff [cosmetics] off your face before your mother sees you!”

Dr. Houseman returned to his hotel room, where his wife was sleeping. When his wife asked him, “Is everything all right, Jake?”, he responded, “It's all right, Marjorie. Go back to sleep.”

Later in the movie, several remarks in the dialogue indicated that Dr. Houseman gave Baby “the silent treatment” during the days following the abortion, refusing to talk with her about anything. His refusal enabled Baby to continue to conceal additional secrets – related to herself and to Lisa – that were related to the abortion. Even if Dr. Houseman had talked with Baby, she might have continued to reveal these family secrets, but now her father’s own refusal to talk gave Baby a convenient excuse to remain silent about them.

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Dr. Houseman believed mistakenly that Penny Johnson had been impregnated by her fellow dance instructor Johnny Castle, but Baby knew that the culprit was Robbie Gould, a medical student who worked as a waiter in the hotel resort during the summer. Furthermore, Baby knew that this same Robbie Gould and her older sister Lisa now were becoming involved in a romantic relationship that Lisa was concealing from her parents. During one of the first evenings of the family’s stay at the resort hotel, Lisa and Robbie had gone together to the golf course in order to make out, and Lisa had asked Baby to tell their parents a false story about Lisa’s whereabouts.

Later that night Baby saw Robbie and Lisa coming out of the woods. Lisa’s hair and dress were disordered, and her slip was showing. Lisa was demanding an apology from Robbie, who was telling Lisa to “go back to Mommy and Daddy” and joking that Lisa would hear an apology from him only in her dreams. Baby saw this incident before she learned that Penny had become pregnant and that Robbie was the culprit.

The movie’s author Eleanor Bergstein explained in her running commentary about the movie that a long scene was removed from this part of the movie. In the removed scene, Penny saw Lisa and Robbie coming out of the woods, and so she herself became upset at Robbie’s behavior and so she herself ran away into the woods. Baby saw all these events and so assembled a few people to go into the woods to find Penny. During this search, Baby used some navigation and orientation techniques that she learned in the Girl Scouts, thus depicting Baby’s intelligence and resourcefulness.

This search through the dark forest was filmed with great difficulty. Since, however, the scene lasted several minutes and because the film’s editors thought the movie was too long, the editors recommendation that this entire search scene be cut from the film. Bergstein resisted this recommendation but eventually relented. The scene was eliminated, and Bergstein eventually came to feel that this cut improved the movie. In the film’s final version, Baby simply found Penny hiding and crying in the resort hotel’s kitchen. Although Bergstein agreed to cut the search through the woods, we can suppose that she felt that this cut scene had given the audience some important understandings.

The cut scene helped the audience understand that Baby initially had focused her attention primarily on Penny Johnson, not on Johnny Castle. Before this search scene, Baby had seen Penny and Johnny dance twice –once in the resort hotel’s ballroom and once in a warehouse where the employees were dirty-dancing. Baby watched both dancers with obvious fascination. The audience might assume that Baby focused her fascination primarily on Johnny, but at first she was intimidated by him and focused her fascination primarily on Penny.

On the day following the dirty-dancing scene, Baby even approached Penny to flatter her, saying she admired her and envied her talent. Penny dismissed Baby’s remarks, and Baby’s feelings were hurt. Later, that night, Baby was dismayed to see that when Penny saw Robbie and Lisa came out of the woods together, Penny became upset and ran into the woods. Baby’s admiration and concern for Penny motivated her to organize a group effort to search for Penny in the woods.

Since the search scene was removed from the movie, the audience lost much of the author’s intended understanding that Baby at that time was focusing her attention primarily on Penny. Baby wanted to flatter and help Penny already before she knew anything at all about Penny’s pregnancy. The audience lost also much of the author’s intended understanding that this early situation caused Baby to develop anger toward her sister Lisa. Although Baby still did not understand that Penny was pregnant from Robbie, Baby did understand that something about the relationship between Robbie and Lisa upset Penny terribly.

When Doctor Houseman’s own anger caused him to stop talking with Baby, he prevented her from explaining Lisa’s secret involvement in the abortion situation – that Lisa was becoming involved romantically with Robbie, who had made Penny pregnant.

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Doctor Houseman’s refusal to talk with Baby prevented her also from explaining her own secret involvement with the abortion situation. Doctor Houseman concluded mistakenly that Penny had become pregnant from Johnny. By the time Doctor Houseman made this false conclusion, Baby already had spent a lot of time receiving dance instructions secretly from Johnny and even had performed a dance with him at the other resort hotel.

After Doctor Houseman finished treating Penny’s complications from the abortion, he ordered Baby to cease any further associations with any of the employees. However, on the very next day, Baby went to Johnny’s cabin to apologize for her father’s mistaken and insulting accusations against Johnny. During this visit, Baby and Johnny had sex for the first time, and so now Baby’s moral problems became even more serious. Now she had disobeyed her father’s order to cease associations with any of the employees, now she was having sex with the very employee who her father thought had caused Penny’s pregnancy, and now she herself was in danger of becoming pregnant and eventually needing an abortion.

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I speculate that Doctor Houseman’s fury at Baby for using his money to pay for an illegal abortion was compounded by his own feelings and experiences related to illegal abortions. When Baby had asked him for $250 to help someone but would not explain the circumstances, the thought must have occurred to him that the money might be for an illegal abortion. He asked Baby whether the money was for something illegal, and when she said it was not, he immediately apologized, saying: “That was a stupid thing to ask. Forgive me.”

Of course, his question whether his money would be used for something illegal was not “a stupid thing to ask.” If, however, he believed that abortions should be available to women even though abortions were illegal, then perhaps he indeed felt that he should not ask such aggressive questions if the money indeed was for an abortion.

Later, when Baby ran to tell her father that there was a problem caused by an abortion, his first question was whether the victim was Lisa. After Doctor Houseman learned that the victim was Penny and after he finished treating Penny, he expressed his anger to Baby with the words: “You're not the person I thought you were. I'm not sure who you are.”

I speculate that Doctor Houseman was making these two statements to a great extent about himself too. If he himself had performed illegal abortions, then perhaps those past experiences caused him to feel that he was not the person he thought he himself was and that he himself was not sure who he himself was.

Perhaps he was thinking also that if Baby had told him from the beginning that Penny needed an abortion, then he might have provided some advice or direction that would have avoided her complications. He might have recommended a real doctor who would have perform the abortion or might have performed the abortion himself.

Penny said she refused to go to a hospital because she feared that the hospital would inform the police. Since Dr. Houseman himself did not call the police after he learned about the situation, he apparently did not believe fully that all illegal abortions should be reported to the police.

All these considerations would have caused Dr. Houseman great moral conflict that impeded him from discussing the situation with Baby fully and candidly. With regard to abortions, he had various secrets of his own to conceal from his family, including from his wife.

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Doctor Houseman’s inability to talk effectively about the abortion decision involved also his attitude toward the ordinary employees of the resort hotel. He generally viewed them with benign condescension, which turned into contemptuous disgust at the particular employees he perceived to be directly involved with the illegitimate pregnancy and illegal abortion.

When Dr. Houseman came into the cabin to provide medical treatment to Penny, he asked who was responsible for Penny. Johnny Castle responded that he was responsible, meaning that he would pay for any further medical costs. Doctor Houseman misconstrued Johnny’s assumption of financial responsibility to mean instead, however, that Johnny had made Penny pregnant.

Afterwards, Dr. Houseman refused to talk with any of the ordinary employees, especially with Johnny, who tried several times to explain himself. The only non-management employee Dr. Houseman would talk with was the waiter Robbie Gould, the medical student who actually had made Penny Johnson pregnant.

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During one first nights that the Houseman family spent at the resort hotel, Lisa and Robbie went together to the golf course. Apparently they engaged in some heavy petting, but Lisa stopped Robbie from going too far, and so they quarreled and walked back through the woods to the resort hotel. Baby and Penny saw Lisa and Robbie coming out of the woods still arguing about Robbie’s seduction attempt. After Baby saw how much this incident upset Penny, Baby developed a growing anger toward Lisa.

Baby’s anger was compounded when she learned that Robbie had made Penny pregnant, abandoned Penny, and refused to pay for Penny’s abortion. Baby’s anger was compounded even more as she sat in the resort hotel’s dining room every day and saw Robbie, serving the family as a waiter, ingratiate himself with her parents. Furthermore, while Doctor Houseman stopped talking with Baby, he became more and more talkative with Lisa. Baby stopped talking with Lisa and so decided not to tell Lisa about Penny’s abortion and Robbie’s role.

Then on one of the last nights of the family’s stay at the resort hotel, however, Lisa and Baby were lying in their beds in their hotel room, and Lisa happily informed Baby that she had “decided to go all the way with Robbie.” Lisa expected that her decision eventually would result in a marriage and even wondered aloud whether the resort hotel might allow her and Robbie to stay for free if they returned for their ten-year anniversary.

The sisters’ conversation in the bedroom progressed as follows:

Lisa: I’ve decided to go all the way with Robbie.

Baby: No, not with someone like him.

Lisa: Do you think if we [Lisa and Robbie] came back for a ten-year anniversary, it [another stay in the resort hotel] would be free?

Baby: It's just wrong this way. It should be with someone, with someone that you sort of love.

Lisa: Come on. You don't care about me. You wouldn't care if I humped the entire army, as long as we were on the right side of the Ho Chi Minh Trail. What you care about is that you're not Daddy's girl anymore. He listens when I talk now. You hate that.

Lisa’s last statement expresses her own fury toward Baby. Lisa perceived that Baby was interested only in politics and that Baby considered Lisa to be promiscuous. Furthermore, Lisa pointedly mocked Baby for losing her, Baby’s, status as their father’s favorite daughter.

Since Baby continued to conceal her knowledge of Robbie’s bad character, Lisa later did go to Robbie’s cabin with the intention of having sex with him. She stopped at the most moment only because she saw that he already was having sex with an older female guest.

Later in the story, however, the two sisters reconciled. This happened after Lisa saw Robbie having sex with an older woman and after Johnny Castle was fired by the resort hotel’s owner. Only after both sisters had lost their boyfriends did the reconciliation become possible. The reconciliation was depicted toward the end of the movie, in short scene where the sisters were sitting together in their bedroom and Lisa offered to restyle Baby’s hair. Baby seemed to respond reluctantly to Lisa’s offer, but then in the final scene Baby appeared with a different hair style.

(As I described in a previous article, the movie’s author Eleanor Bergstein scrambled the roles that she and her real sister played in their real family. Her real sister Francis was more serious, becoming a mathematics professor who tried to remain faithful in her relationships, as she was depicted in Bergstein’s other movie It’s My Turn. When Eleanor Bergstein herself was a young woman, one of her own major activities was competing in dirty-dancing contests. Surely Eleanor was the much more sexually promiscuous of the two real sisters.)

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Late in the story, Baby attempted to reconcile also with her father. He was sitting sad and alone on a deck overlooking the lake behind the resort hotel. He had just learned that Baby has been sleeping with Johnny. Then Baby approached him on this deck, and they had their first conversation since he had treated Penny’s abortion complications. Baby too was unhappy, because she has just learned that Johnny has been fired and is preparing to leave. Therefore she herself now has lost any reasons to continue to conceal from her father any remaining secrets of her own.

Baby initiated this conversation with her father by apologizing for lying to him. Then immediately, however, she attacked her father for lying to her. He had pretended to be egalitarian, but the recent events had revealed how he looked down on the hotel’s ordinary employees, such as Johnny Castle. Baby’s concluding words in this conversation:

I'm not proud of myself, but I'm in this family too. You can't keep giving me the silent treatment. There are a lot of things about me that aren't what you thought, but if you love me, you have to love all the things about me. And I love you. I'm sorry I let you down. I'm so sorry, Daddy, but you let me down too.

Although Dr. Houseman and Baby at least resumed talking with each other again, this conversation did not end with a complete reconciliation and clarifying discussion of their conflict. He continued to believe mistakenly that Johnny Castle had made Penny Johnson pregnant. Doctor Houseman was still so angry that decided to punish Baby by making the family leave the resort hotel on the next day.

Since the family vacation was supposed to last several more days and conclude after the talent show on the final night, however, the family protested against the father’s rash decision to leave early. He relented and the family stayed. Fortunately, Dr. Houseman’s attendance at the talent show on the final evening provided an opportunity for him to clarify his essential misunderstanding of the abortion situation. When Doctor Houseman tried to give an envelope full of money to Robbie Gould as a final tip for his waiter service, Robbie Gould inadvertently revealed that he, not Johnny Caste, had made Penny Johnson pregnant. This fortuitous revelation of the key facts then enabled Doctor Houseman to recognize fully his own moral faults in this entire situation. And so he apologized to Johnny Castle for his false accusations and began to accept Johnny Castle as a social peer.

Eleanor Bergstein and Five Female Characters

Eleanor Bergstein, the author of Dirty Dancing, based the story on her own experiences. Like the movie’s main character, she grew up in a family that visited resort hotels in the Borscht Belt regularly during summer vacations.


Bergstein was born in 1938 and therefore was 17 years old in about 1955. The movie’s main character was 17 years old in the year 1963 and so would have been born in about 1946. The movie was issued in 1987 and told a story that took place in 1963, so the initial audience was looking back about 24 years.

Why didn’t Bergstein set the movie’s time in about 1955, when she herself was about 17?

Bergstein did not address that question in her running commentary about the movie, but she did say that she worked at such a resort hotel in her summers during her college years and also that she worked as an Arthur Murray dance instructor during her college years. If we estimate that she attended college as an undergraduate from about 1956 through 1959 and further attended as a graduate student from about 1960 to 1963, then we can suppose that her last summer working at the camp might have been in about 1963, which is the summer when the story takes place.

This suggests that Bergstein based two of the movie’s characters on herself:

  • the 17-year-old girl visiting the resort hotel with her family

  • the 25-year-old woman teaching dance at the resort hotel.

The movie does not specify the two dance instructors’ ages, but I read somewhere that Patrick Swayze was 35 years old when he played the movie’s dance-instructor, who was supposed to be 25 years old. (Likewise Jennifer Grey was 27 years old when she played the 17-year-old girl.) If the male instructor indeed was supposed to be 25 years old, then we can suppose that the female dance instructor was about the same age.

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In the movie, the female dance instructor, named Penny Johnson, had a platonic friendship with the male instructor, named Johnny Castle. Meanwhile she had fallen in love and become pregnant with a college student, named Robbie Gould, who had just been accepted into medical school. We can suppose that he was finishing his undergraduate studies and therefore was about 21 years old.

When Penny Johnson learned that Robbie Gould does not want to marry her, she decided to have an abortion, which could be done only on one particular night when she was supposed to perform a dance with the Johnny Castle. Therefore, the 17-year-old female guest agreed to learn the dance and then pretend to be Penny Johnson on that night. The 17-year-old female guest thus became the 24-year-old dance instructor in the story. Therefore we should appreciate that Eleanor Bergstein in her story perceived herself as both female characters, the younger one eventually becoming the older one.

There is a scene in the movie where the dance instructor danced behind and guided the girl as the girl began to learn to dance. There is another scene where the dance instructor and the girl were mirroring each other's movements. In both scenes we might say that the girl became the dance instructor.



Since Eleanor Bergstein’s own father was a doctor and her family life was happy, we can suppose that she herself as a young woman would have idealized a husband who would have been a doctor. She therefore could have imagined herself as easily seduced by a medical student. Perhaps she even had such an experience.

The dance instructor’s name is Johnny Castle, and the father’s name is Jake Houseman. Both their first names – Johnny and Jake – are nicknames for the proper Biblical name Jonathan.

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Both of Eleanor Bergstein's parents died when she was in her early twenties. She was affected most profoundly by the death of her mother, about which she later wrote: “Losing my mother was so frightening. I had an almost total absence of hope, and I closed myself off, unable to face the grief and the pain.”

After both her parents died, Eleanor went to live with another family that had many relatives who had died in the Holocaust. This new family talked about these murdered relatives almost every day, which made Bergstein even more depressed.

She tried to continue making a living a dancer as a professional dancer but then gr1adually became a novelist and then a screenwriter. She married a man who became a professor of poetry at Princeton University. Many of her stories, novels and screenplays included dancing as a story element.

In 1980 a movie based on one of her screenplays was issued. The movie was titled It’s My Turn and starred Jill Clayburgh, who played a mathematics professor, and Michael Douglas, who played a former professional baseball player who had to retire early because of an injury. Each of these two characters had lost a parent through death, and the surviving parents fell in love and married. The two characters met at the wedding of their parents and then fell in love themselves, even though they now were step-sister and step-brother. The script included a scene where the two characters dance, which then leads to their first sexual experience together. The dance scene was removed from the movie’s final version, however, which dismayed Bergstein.

The removal of this dance scene from It’s My Turn decisively motivated Bergstein to write the movie Dirty Dancing, in which dancing is the main theme.

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Eleanor Bergstein was named after Eleanor Roosevelt, but she was called Baby by her family and friends through her teenage years. She had an older sister named Frances, who was named after Frances Perkins, who was President Franklin Roosevelt’s Secretary of Labor from 1933 to 1945.

In the movie Dirty Dancing, the central family’s name is Houseman, its older daughter is called Lisa, and its younger, 17-year-old daughter is called Baby. After Baby became intimate with Johnny Castle, he asked her what her real name was, and she told him that it was Frances, because her parents had named her after the first female member of the US Cabinet.

In the movie, the older sister Lisa was frivolous, and her main interest was beauty and fashion. She thought she might have a successful career in show business and she gladly participated in the resort hotel’s talent show. The audience sees her rehearsing for her talent-show performance, and it is obvious that she had no performance talent and would never succeed in show business.

In the movie, the younger sister Baby (Frances) was very serious and intended to major in international economic development when she began her studies soon at Mount Holyoke College, a prestigious women’s college. At the beginning of the movie, she was already reading a textbook about the economics of peasant societies. She had a plain appearance and she dressed drably (during the first half of the movie). On one occasion Lisa suggested to Baby that she restyle her (Baby’s) hair in a more attractive appearance, but Baby is not interested. When the hotel owner’s grandson flirted with Baby, she tried to avoid him.

In real life, the older sister Frances was the unemotional, serious, intellectually ambitious sister. Frances eventually became a mathematics professor and served as the basis for the character played by Jill Clayburgh in Bergstein’s movie It’s My Turn.

In real life, the younger sister Eleanor was the frivolous, entertaining sister, always called Baby by everyone who knew her. Eleanor worked as a professional dancer, married a poet, lived a Bohemian life, strove to break into show business, and eventually made a career as writer and producer of chick flicks.

Thus we should appreciate that Eleanor Bergman saw herself in three of the movie’s main female roles, as

  • Baby Houseman,

  • Penny Johnson,

  • Lisa Houseman.

The third role is an inside joke for people who know Eleanor Bergman’s real family and who recognize that the two sister’s names and personalities have been switched. Whenever the movie makes fun of the older sister Lisa as a frivolous nitwit who, for example, obviously never will achieve her fantasy of succeeding as a dancer in show business, the movie really is making fun of Eleanor Bergstein herself. And when the movie depicts Baby Houseman as a serious young intellectual, the movie is attributing the real older sister Frances’s most admirable characteristics to the real younger sister Eleanor.

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In general, the movie scrambles the two sisters Lisa and Baby and the female dance instructor Penny Johnson. As I have already pointed out, Baby eventually became Penny Johnson. Furthermore, Lisa and Penny fell in love and had sex with the same medical student Robbie Gould. Meanwhile Baby fell in love and has sex with the male dance instructor Johnny Castle, who initially seemed to be the lover and impregnator of Penny. While writing her script, the author Eleanor Bergstein apparently saw herself in each of these three female characters and in each of their situations.

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The family’s mother, Marjorie Houseman, plays a role in the film, but because of an unexpected fluke, her role was altered significantly. In real life, Eleanor Bergstein’s real mother, who was a doctor’s wife and a homemaker, had enough money and time to become a superb golfer. On the other hand, Eleanor Bergstein’s real father, who was a busy doctor, always remained a mediocre golfer. Therefore Eleanor Bergstein wrote into the script a scene where both parents are practicing on a putting green. The scene was supposed to display the mother’s competence and give her an opportunity to instruct her husband.

When the scene was filmed, however, the actor playing the father (Jerry Orbach) happened to sink two long puts in a nonchalant manner. Furthermore, the second put swirled around the hole three or four times before it fell in. Since the director Emile Ardonlino enforced a strict rule that all actors must continue to play their roles seriously, even if something unexpected happened, the actor maintained a straight face even though he was supposed to miss both puts.

This unexpected feat, all caught perfectly on film, was so hilarious that Eleanor Bergstein immediately rewrote the dialogue so that the father subsequently instructed the mother condescendingly about her golf technique. One dialogue line that did remain was the father’s remark that if he ever died, the mother probably would immediately marry Arnold Palmer (the most famous professional golfer of that time).

During her running commentary about the film, Eleanor Bergstein told this story about the change of dialogue in the putting scene and apologized to her deceased mother for demeaning her well-deserved reputation as a superb golfer.

Some of the mother’s dialogue might have been removed from the film because the actress who began to play the mother while the movie was being filmed became sick after several days and was replaced. (In one of the first scenes, when all the guests are arriving and unloading their cars, the mother is a blonde, but during the rest of the movie she is a brunette.)

In the scenes where we do see the mother acting, she is restraining the father’s angry reactions to Baby’s actions. For example, in the last scene when Johnny Castle barges into the talent show and grabs Baby and leads her toward the stage, the father rises from his chair to interfere, but the mother grabs the father and pulls him back into his chair.


Thus Eleanor Bergstein intended to present the mother as a strong and capable mother who encouraged her daughters to succeed as independent women. The movie states explicitly, for example, that the younger daughter had been named after the first woman to serve in the US Cabinet (although in the real family the older sister was so named) and was sending this daughter to attend a prestigious women’s college. Thus we should appreciate that the movie’s author Eleanor Bergstein intended to identify the mother with the daughter. This was a mother who wanted to realize her own frustrated professional ambitions through her intellectual, studious, ambitious daughter Frances (the older daughter in the real family).

Thus the author Eleanor Bergstein identifies herself with four of the movie’s female characters:

  • the younger daughter Baby Houseman,

  • the dance instructor Penny Johnson,

  • the older daughter Lisa Houseman,

  • the mother Marjorie Houseman,

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The movie features a fifth female character, named Vivian Pressman. She was a middle-aged female guest, married to a man who spent much of his time at the hotel resort gambling. She took dance lessons from Johnny Castle and had a sexual affair with him. Thus she resembled Baby Houseman, who likewise took dance lessons from and had a sexual affair with Johnny Castle.

(When the actress who was supposed to play the mother had to drop out of the movie because of an illness, she was replaced by the actress, Kelly Bishop, who was supposed originally to play Vivian Presssman. In turn, the role of Vivian Pressman was filled by an assistant choreographer, Miranda Garrison, who had helped train the female “dirty dancers” in the cast. The unexpected but perfect placement of dirty-dancer, sluttish Garrison into the Pressman role is irrefutable proof that the production of the movie Dirty Dancing was inspired, favored and guided miraculously by Mankind’s Loving and Omnipotent God.)

Another similarity is that both Vivian Pressman and Baby Houseman gave money to Johnny Castle for sexual reasons. Vivian Pressman arranged for her gambler husband to give $100 to Johnny Castle for dance lessons, although it is apparent that Vivian Pressman hoped that this monetary payment would enable her own sexual affair with Johnny Castle. On the other hand, Baby Houseman arranged for her father to give $250 to Johnny Castle for Penny Johnson’s abortion.

Eventually, Vivian Pressman was rejected by Johnny Castle and so had a sexual affair instead with the medical student Robbie Gould. The older sister Lisa Houseman intended to have a sexual affair with this same Robbie Gould, but this intention was interrupted when she found Gould and Pressman in the act of sexual intercourse.

Thus, we should appreciate that Eleanor Bergstein identified herself finally with this fifth female role too. This was an older, predatory female that the younger, idealistic females might become. Vivian Pressman competed with the younger sister Baby Houseman for a sexual affair with Johnny Castle and then competed with the older sister Lisa Houseman for a sexual affair with Robby Gould. Although Baby Houseman defeated Vivian Pressman in the competition for Johnny Castle, Pressman subsequently accused Castle of stealing money from her husband and so caused the hotel resort owner Max Kellerman to fire Castle, which seemed to ruin Baby Houseman’s relationships with Castle and with her father.

Vivian Pressman is the movie’s main villain, but the author Eleanor Bergstein identifies with her too. When Bergstein finished writing Dirty Dancing in about 1984, she herself was in her mid-forties, about the same age as the Vivian Pressman character. Vivian Pressman represents the middle-aged Eleanor Bergstein’s enduring, competitive, wicked lust for sexual adventures and experiences with attractive young men.

Thus we should appreciate that Eleanor Bergstein herself identified with the movie’s five main female characters:

  • the 17-year-old idealistic younger daughter Baby Houseman,

  • the 25-year-old talented dance instructor Penny Johnson,

  • the 19-year-old frivolous older daughter Lisa Houseman,

  • the admirable, faithful middle-aged wife and mother Marjorie Houseman,

  • the contemptible, adulterous middle-aged wife Vivian Pressman,

Saturday, December 27, 2008

Bit 50 - Everyone Dances






Date of Scene

Sunday, September 1, 1963

Afternoon


Scene Description




Dialogue

Max Kellerman
(Addressing Tito Suarez)
Do you have sheet music on this stuff?

Jake Houseman
(Addressing Johnny Castle)
I know you weren't the one who got Penny in trouble. When I'm wrong, I say I'm wrong.
You looked wonderful out there.



Music

The song "Time of My Life"



Remarks

See also: The Psychology of the Movie's Denouement.