In 1987, the risqué film, Dirty Dancing, not only was released to the public, but was also used as a vice to highlight sensuality during a time of civil chaos. This romantic drama was based off a young girl’s (Jennifer Grey) experiences on her family’s summer vacation in the Catskill Mountains of southeastern New York. During her trip she meets a dance instructor Johnny Castle (Patrick Swayze) who opens her eyes to a different way of life, while trying to overcome the hierarchical status differences between him and her family. Jennifer Grey’s character, Francis Houseman, also known as “Baby,” was expected to behave a certain way while staying at Kellerman’s Resort considering her father was close to the owner, Max Kellerman. This became a nearly …show more content…
impossible task due to her father’s dislike of Johnny, thus forcing the two lovers to sneak around behind his back. Although director, Emile Ardolino and screenwriter, Eleanor Bergstein, succeeded in letting the film denote a “light” and “thoughtless” plot, I believe there was more to be seen than a simple love affair. I believe the “more” is referring to the theme of intimacy plugged in throughout the film. I will discuss the way Ardolino chooses to accentuate intimacy by focusing in on major building blocks of the story. First I will discuss how the soundtrack and music choice brought a sexual flair to the film. Then I will examine the significance of Ardolino choosing the specific actors involved to play his main characters. Finally, I will assess the importance of the types of dancing that is showcased in majority of the scenes. All of these ingredients help radiate the intimate mood that was embedded in the Dirty Dancing storyline. In the film, Ardolino and Bergstein made sure they matched the summer romance to an indulging soundtrack that would please any listener’s ear. The music supervisor, Jimmy Lenner, turned the playlist into one that had one common theme throughout; sex. Other films such as Footloose (1984) and Twist Around the Clock (1962), also held the same subject matter of intimacy and were of similar interest as Dirty Dancing. In fact, Vincent Camby, a writer for the New York Times in 1987, exclaimed a similar idea by stating, Though music is the subject of each film, sex is the subtext. In the final reel, generations reconcile; initially stuffy oldsters end up rocking, rolling or twisting the night away, showing the young that, though creaky of joint and infirm of body, they can still do ''it.'' This reinforces that sexual intimacy was a sought after feeling that people wanted to experience during this time, even if it just came from the playing of a song. The tracks that are used in this film represent love, affection and saying anything to “seal the deal” with a lover.
In the opening scene, the director shows slow-motion clips of several couples dancing in the most intimate way, face to face. All the while, the song “Be My Baby” by The Ronettes is playing in the background. Right after the opening credits, the mood is quickly shifted to a more family-friendly scene of Baby driving to the resort with her family in their safe and cookie-cutter station wagon. Thus giving the audience a reality check from the sexual dance floor nirvana and a push towards the innocent act of going with your parents on a vacation. This family scene was shot while listening to “Big Girls Don’t Cry” by The Four Seasons, a pg-rated song. Further into the film, the sex scene every viewer was anticipating finally arrives. Baby goes to visit Johnny in his less than luxurious cabin after the awkward encounter between him and her father takes place after Penny’s abortion scare. The song choice of “Cry to Me” by Solomon Burke sets the mood and is used by the two lovers to say what they’ve wanted to say all along. The lyrics “Nothin’ can be sadder than a glass of wine alone”…. “Loneliness is such a waste of time”… “You don’t ever have to walk alone,” say exactly what the characters are feeling, and it shows once the physicality of their relationship begins moments after. Music was used in this film to add flair to the lustful nature of Baby and Johnny’s …show more content…
love affair. Movies are rated upon the status of their leading actors and the performance they gave in the film. Which is why there is no questioning Ardolino and Bergstein’s decision to make Patrick Swayze the leading man in this drama film. During the 1980’s Swayze was seen as an ultimate sex symbol. What many people do not recollect is Swayze’s first fate being an accomplished dancer inspired by his mother, who was the director of the Houston Jazz Ballet Company (Bio). After undergoing knee surgery, Swayze decided to take the different yet conclusive route of acting. His hope for being a dancer was not yet crushed when he was presented with the gig of Dirty Dancing, which allowed him to combine both of his worlds. His dancing background made the film that much creditable. The combination of his athletic build and his knowledge of ballet made him the perfect dance instructor in the film. Jennifer Gray, “Baby,” also had a dancer’s past. Her father Joel Grey, an Oscar-winning actor and dancer, fueled Jennifer’s passion for dancing, turns her into a seasoned performer (Bio). Swayze was also seen as the “bad boy” that every woman dreams would give them individual attention while alone. At one point of the movie Swayze says, “the reason why people treat me like I’m nothing is because I am nothing.” (Dirty Dancing) This not only shows his softer side but also alludes to the idea that Johnny was his very best when he was dancing, that is who defined him (Canby). This makes Patrick Swayze the perfect sex symbol, sensitive, yet rough around the edges. Grey balances this sex symbol image by being more homely and innocent, making them the perfect mix and fire and ice. The dynamic duo of Grey and Swayze, keeps the viewer’s attention on not only their love affair, but also how well they perfected the provocative choreographed dance moves. Another noteworthy character that abides by the theme of intimacy is Baby’s sister, Lisa, played by Jane Brucker. Lisa is shown to not have as much depth as Baby; instead, she exemplifies exactly what a teenage girl was interested in during this time period. This is the interest of boyfriends, make-up, sex appeal and losing her virginity. In the scene where Baby and Lisa are both lying in their beds trying to fall asleep, Lisa randomly comments to Baby, “I am thinking about going all the way with Robbie.” Baby, knowing Robbie’s womanizing and piggish nature, quickly rejects her sister’s idea and assures her that sex should be something between two people that love one another. (Dirty Dancing) This still communicates the message of sex and intimacy, while providing a more traditional spin on the sacred act. Dancing was the focal point to this entire film. Ardolino and Bergstein made it a point to give the audience a feeling of nostalgia for the sweet American lifestyle everyone once had before the assassination of President Kennedy and the anti-Vietnam war movement. (Canby) What better way to lighten the mood of such a devastating time, other than giving the viewers and absolute smoke-show of a performance? Spicy dances such, as the tango, meringue, mambo and salsa all showcase Grey and Swayze’s talents. In the earlier half of the film, Penny teaches a popular meringue class while coaching the vacationers through the dance moves. She says things such as “Alright now ladies, on the count of three you’re going to switch partners and find the man of your dreams!” This alone makes the audience believe that learning the one-two step can bring love and passion into their lives. Another notable scene is when Penny and Johnny attempt to teach Baby their moves to the appropriate song, “Hungry Eyes” by Eric Carmen. Penny is behind Baby guiding her hips, while Johnny is in the front holding her hands. Almost immolating the transfer of talent and title of “Johnny’s Girl” to Baby. This is a moment of foreshadowing of the relationship Baby and Johnny will have later in the film. Most of these numbers come from a Latin background and are famous for their passionate and sexual connotations. The hip movements and grabbing heat up the mood instantly, while forcing the viewer to imagine what more the couple could do. Near the end of the film, Baby and her family go to the infamous end-of-summer talent show that many of the guests plan to perform in, including her sister Lisa.
Disappointed, by Johnny fleeing from the resort, Baby plans to watch the show from the sideline. That is, until Johnny shows up with the famous quote “Nobody puts baby in the corner.” The duo began the biggest dance number of the movie, leading off by the song “(I’ve Had) The Time of My Life” by Bill Medley and Jennifer Warnes. Their performance of the scandalous “cha-cha” style wows the crowd and lures them into joining in. The song and the dance just radiate the theme of being comfortable with your sexuality and not being afraid to express that to your loved
ones. In conclusion, this film was a beacon of light for lovers all across the world during the 1980s. Ardolino and Bergstein found a way to mesh a family-appropriate film with an adult twist through the use music, people and dance. The soundtrack formed sexual connotations before the storyline was even revealed. Ardolino and Bergstein’s choice of actors to play their headlining characters brought chemistry to the screen that was irresistible to watch. While the dances the actors performed are still remembered to this day for their sexual nature. Combined, these main points created a piece of musical and theatrical history that will forever be deemed undeniably intimate.
A soundtrack is a key role in any movie and subsequently positions viewers to emotionally react, provoking a deeper thought of what is transpiring in the scene, targeting the mood portrayed. Good morning, I’d like to thank you for having me here today, being given the opportunity to provide an Australian musical composition, which is best effective in the selected scene. Sung by the outstanding Australian artist, Sia Furler’s, Breathe Me is a worldwide selling single that alludes to many themes explored in the film, Jasper Jones, such as relationships, and identity. The scene that best fits this song and connects with the viewers on an emotional level, is of Laura running to the woods, where she ultimately ends her life. While the musical composition was originally penned about a drug addiction, the lyrics can be interpreted in many ways, linking impeccably to those in Jasper Jones. I will discuss this through the poetic devices of repetition and symbolism, which I feel are the most powerful in conveying the themes.
A lovable, heartwarming story of love is one of “ Seven Brides for Seven Brothers”. A story of seven men who have no guidance find themselves in love. The two main characters in the play are Adam and Millie. By being husband and wife they help the story out with their own love and romance. The seven brothers fall in love with seven beautiful woman and through out the play we see al the ways they try to get their gals. The singing in this play helps us figure out the songs: “Bless Your Beautiful Hide”, “Goin Courtin”, and “Sobbin Woman”. The style of music they use to get this point across is old fashion, traditional music.
This club emulates hip hop culture because it is a typical scene from hip hop videos where the settings take place in an upscale club, where people can drink and party, privately, protected by the club’s exclusiveness, where many of the guests dress to impress each other, as the dress code directly states. Partying and the club seen is a prominent part of hip hop culture because this culture originally began with backyard and street parties, similar to the ones that take place at the 40/40 lounge . In these club settings, historically and presently, “pressures to sexualized interaction with other young people on the hip hop dance floor may well be present in the interpretations that young people of the visual imagery of the people dancing in the club, of hip hop music videos and their lyrics,” a stereotypical image that many artists and hip hop enthusiasts seek to maintain and participate in” (Munoz-Laboy &Weinstein & Parker, 2007, pg.
The mise en scene is what the viewers see on the big screen, such as the backgrounds, characters, and the lighting. The set, makeup, props and placement of actors can tell the story with dialogue, setting the mood and setting the plot (Goodykoontz & Jacobs, 2014). This film displayed several elements. It was a lot of lighting, movement, shots, and angles. The first element that I noticed was during the scene when Johnny and Jennifer (Baby) first met to learn how to dance. That scene gave different shots and angles. It showed the fun side of them. The second element of lighting was used pretty much throughout the movie. One scene was at the time on stage, the camera showed low-lighting and some lights in the background, which gave a soft and romantic feel. Another scene was when Johnny and Baby were dancing in his studio before they became intimate. This scene illustrated their upbeat mood. The last element will be edit. The scene when Johnny walked up to Baby and took her on stage. The editing of this scene showed the series as being slow which referred to the pace of the song. This showed the viewers that the music was an important convention of the
“And then to break her heart forever, the baby boy who has begun to talk, starts to sing the Pepsi commercial he heard on T.V. No Speak English, she
Sound is an extremely important element to a film. Music, the sound chosen in this scene, is categorized as non-diegetic, which means that the music is not in the story world. The directors use deep, dramatic, intense music when Nick is interrogating Judy about her speech. The music in the scene helps the audience feel the anxiousness that Judy is feeling towards predators, particularly Nick. As the music plays in the background, the intensity of the scene grows immensely. The directors use the music to help heighten the emotion during this encounter and reveal Judy’s inner fear of predators that gets the best of her in this
Now grown up, Sidney is the chief and editor of XXL, a hip-hop magazine and Dre is a talent scout for Millennium Records. Both Sidney and Dre are very invested in their love for hip-hop. There are complications between the two throughout the movie that starts with Dre proposing to his girlfriend, Reese. Dre decides to quit his job and start his own record company, planning to focus on what real hip-hop was and to emphasize the ways in which his generation fell in love with it in the first place. Reese does not support him, while Sidney does, this brings them closer together because Dre makes Sidney his partner in the label. Both characters realize in their struggles and love for hip-hop that being true to one another and the music is the only way to change anything for the better. In one of the scenes during the film, Sidney says “I don’t have to pretend with hip hop and hip hop doesn’t have to pretend with me” (Brown Sugar). Sidney makes very clear in her book and in her love for hip-hop that she is talking about Dre metaphorically. Love begins to spark between two people through mutual love for something that is respected within the community in a professional manner, that being
The music in the film was spectacular and was incorporated in dance scenes to highlight different parts of the love story. All of the actors had some expressions on their faces that entertained the audience throughout the entire show. It made it look like all the actors were engaged
There is no music in the shots until the very end. There is nondiegetic, faint, disjointed, sounds of horns that begin to play. Then a sound of xylophone or keyboard and violins join in. The volume increases from faint to a more full sound, as Ennis embraces the blood stained jacket and shirt. I must note that during the course of the movie, there was a very signature musical motif. We hear a steel guitar strumming a very serene melody as violins and a faint hint of a slide guitar play this beautiful recurrent melody. This beautiful musical motif is significant in that it is repeated every time Jack and Ennis are together on Brokeback Mountain. The song signifies their time spent together as their love affair grows. It signifies the beauty and serenity of the mountains and a secret place where Jack and Ennis could go and share their love without being judged or scrutinized by the public's disapproval of homosexuality in the 1960’s.There are few sound effects in the shots. Most of the sounds heard are natural sounds like the wind blowing or the floor creaking. We can hear a crow cawing in the distance and a cow mooing when Ennis opens the window in the scene. This helps us understand that we are in the
As this occurs, Elton John’s “Mona Lisas and Mad Hatters” fades into the scene and continues until William finds an intoxicated and distraught Penny in her hotel room. The song contains lyrics like “But now I know that rose trees never grow / in New York City” and is about the gritty reality of New York and how much that reality contradicts with the public’s glamorous perception of the city. This can just as easily be applied to Penny’s current situation, as her story proves that the seemingly glamorous lifestyle of a groupie is not as amazing as it may appear to be. Instead, groupies are often forgotten by the famous men they adore and love. This is exactly what happens to Penny at the hands of Stillwater, who have chosen to trade her off because she may potentially ruin Russel’s relationship. The lyrics of “Mona Lisas and Mad Hatters” add to the gravitas of the scene, as they are representative of the realizations that Penny and William are both coming to about the rock scene and its artifice. Using a song that parallels the events taking place on screen essentially reiterates the importance of the scene in the minds of the audience, as Crowe saw fit to depict the message of the scene in more than one
This grand reveal is also accompanied by the Metallica soundtrack that appears to be in a minor key. Perhaps Berlinger and Sinofsky wanted to appeal to viewers’ emotion, this time through heightening music. The speed of the music welcomes the emotions we associate it with. That is, sadness and seriousness. The film makers almost want viewers to be dismal, connoting the severity of the situation and leading them to wonder who was responsible for the death of these young boys and what consequences will
Luhrmann’s creative sense of putting the song Young and Beautiful is what made the film wonderful to watch because of the way it sound and the flow that it had through the film, but many people might disagree with the way he did it and of using the same artist and song through each scene.
There are songs, establishing mood throughout the video. The song Maria becomes slow, then loud with passion. The mood begins to become in love and sweet passion.
The sex-worker Vivian Ward (Julia Roberts) is introduced by a montage of lingerie shots surrounded by cheap makeup, “trashy” clothing and an overall low quality lifestyle, present with its own dangers as depicted by Vivian climbing down
This song really brought the band to the front lines for a lot of their audience. In the music video recorded for the song, the visual appearance that goes with the music does not seem like the typical music one would expect from a Japanese pop and heavy metal band, but seems expected from these three young women in Babymetal. The way their music transitions from head-banging music to idealistic pop style music is intriguing at the least. They have an ability to draw in multiple audiences. The biggest question that seems to arise from all of the work that Babymetal does, is why they play the music they do. Throughout the research, there seemed to be a lack of criticism, but a large array of people who voiced opinions about why they did like the band, and most people claimed it was because of the way they sung, the music they played, and the amount of energy they put into every