The beautiful Lucille Ball and Maureen O'Hara star in Dorothy Arzner's Dance, Girl, Dance. Lucille Ball is one of my favorite comedic actors mostly known for her role as Lucy Ricardo on the popular I Love Lucy. The character she plays in this film, Bubbles, is nothing like the her television persona. Bubbles is cruel, provocative, and head-strong. She knows what she wants and takes it without consideration for others. She openly uses Judy as her stooge during her acts and Judy, to prove she will not back down from Bubbles, takes it. The plot itself seems typical of an early film. A dance troupe seeks jobs, one stands out above the rest (or two) and one day, the woman helping them get jobs sees Judy and wants to make her a star. There's something peculiar about that particular scene that makes me think of the gaze of the camera and gaze of the audience. Madame Lydia stands in the shadows and observes Judy's technique though her gaze remains on her for a little longer than necessary to observe. I'll even go as far as to say that there's underlying sexual tension in the air as she lingers on her form and dancing technique. That is not further explored since Madame Lydia's appearance is short-lived but she does offer a helping hand even though Judy is unaware of it at the time.This is where the plot gets complicated. Instead of staying to tell Steve Adams that she's there to see him, she leaves. Though they run into one another outside she doesn't stay to chat and entertain him. Again, she leaves and the only time that he sees her again is when she becomes Bubbles stooge and performs for a jeering crowd. Why does she endure that torment on stage night after night? Is it just love for dancing that she thinks she wouldn't be able to do anywhere else? Is it so that she really doesn't have to be as noticed as Bubbles, virtually ignored, and go on with her life while Bubbles takes the spotlight? I think one of the reasons is the latter. She isn't the one going for stardom. Throughout the film she seems to avoid the limelight. I doubt anyone in that audience booing her even knew her real name. She took all of it until the very, very last minute.
She allows the audience to have it. She stands there in front of everyone to proclaim exactly what she thinks of all of them and maybe even what we, as members of the viewing audience, think of them. Or, she could even be speaking to the viewers of the film! She's telling me, everyone watching the film that we should be ashamed of ourselves for sitting in our seats and watching her endure that torture. I did feel a little guilty just sitting back and watching her receive that kind of treatment. She didn't deserve that. She's the sweet one and Bubbles is the one who should be jeered. She's not. Do nice girls finish last? No. Good and evil isn't really too emphasized in the film. Sure, Bubbles is horrible but Judy understands that as she states on the witness stand. They both come out of the experience unscathed. Judy even gets her big break and all ends well for this Hollywood film.Dorothy Azner knew what she was doing with this film. Women take on the strongest roles in the film. Women drive the film. Women created the film. It certainly had been a step ahead in the right direction.
This leads the way for filmmakers like Ida Lupino (another artist I only knew from her cameo on The Lucy Desi Comedy Hour) and the talented Barbara Loden. Though Ida Lupino's The Bigamist didn't really appeal to me, I absolutely loved Wanda.
Wanda is a film that probably wouldn't appeal to a more mainstream American audience. I can understand its acceptance in Europe. I love its subtle humor, its simplicity and the cinematography that reminded me of a very gritty documentary film. In a way, it does become a documentary filming the actions of Wanda. The camera does nothing to impose itself onto the main character but simply sits back on its heels and captures what is taking place.
The awkward moments in the film are often humorous and sometimes frightening. I feared for her as she lay naked in that hotel room bed, getting dressed quickly to catch up with her ride even though she didn't know where she'd be going. She just wanted to go. She is a nomad. At the end of the film this becomes obvious since she is getting herself into yet another situation in which she won't know the outcome until it's over. She keeps finding herself in situation after situation with no particular goal in mind. She becomes involved with the robber because he just happened to be in the bar she visited to use the restroom. One of the most strange scenes (I say strange because it's funny but you feel as you should not be laughing at it) is when the two are in the room together and he hits her. Instead of running away, hitting him back or yelling, she speaks in a soft tone of voice and says, "Why did you do that? That hurt." She goes on speaking about the event though he doesn't care and even proceeds to stay with him and take his onions off of his hamburger. Who would DO that? Wanda.
It's a simple story, a very anti-climactic climax but I admire that simplicity because within it are complicated characters.
The awkward moments in the film are often humorous and sometimes frightening. I feared for her as she lay naked in that hotel room bed, getting dressed quickly to catch up with her ride even though she didn't know where she'd be going. She just wanted to go. She is a nomad. At the end of the film this becomes obvious since she is getting herself into yet another situation in which she won't know the outcome until it's over. She keeps finding herself in situation after situation with no particular goal in mind. She becomes involved with the robber because he just happened to be in the bar she visited to use the restroom. One of the most strange scenes (I say strange because it's funny but you feel as you should not be laughing at it) is when the two are in the room together and he hits her. Instead of running away, hitting him back or yelling, she speaks in a soft tone of voice and says, "Why did you do that? That hurt." She goes on speaking about the event though he doesn't care and even proceeds to stay with him and take his onions off of his hamburger. Who would DO that? Wanda.
It's a simple story, a very anti-climactic climax but I admire that simplicity because within it are complicated characters.
Hitchcock's masterpiece Vertigo is a film that has always been a personal favorite of mine. The themes of obsession and lust are universal. As Roger Ebert stated in his review of the film, "Alfred Hitchcock took universal emotions, like fear, guilt and lust, placed them in ordinary characters, and developed them in images more than in words." Each emotion that Scottie feels is so visceral that it penetrates through the screen to capture the audience. When he first views Madeline from a distance, we receive a hint of attraction that he feels to her. He's constantly watching her not only because it's his duty but because he's beginning to enjoy just watching her. He does become a voyeur, privy to her every move and action without the knowledge that she's being watched. This puts him in a strong position of power over her. I'll even go as far as to say that he has power over her life when she falls into the bay and he rushes to save her. He's just an observer and doesn't have to save her life. He shouldn't even make his presence known to her but he does.
Ebert also states that, "Judy, in ``Vertigo,'' is the closest he [Hitchcock] came to sympathizing with the female victims of his plots." I agree and in a way, I feel as if Hitchcock gave some power to his female character. Madeline has power because she is aware that she is being followed. She's part of a plot to aid her lover in killing his wife. She helps to lead Scottie into his own insanity. As stated above, he becomes obsessed with Kim Novak's new persona, Judy. In the latter half of the film when he discovers Judy, the audience takes on the role of the voyeur. We know after the scene between Scottie and Judy in the hotel room that Judy really is Madeline but Scottie doesn't know that. We watch as he delves deeper and deeper into his obsession by completely transforming Judy into Madeline. I have to suspend my ideas of reality because it is 
The climax of the film occurs twice in the same location: the bell tower. Toward the end of the film, he corners Judy into her confession and still can't look past her as Madeline to love Judy. Judy is the complete opposite of Madeline. She's not poised, not articulate, not as classy. She's humble, a little naive, weak and not to mention, a brunette. That's the kiss of death in a Hitchcock film. He kills her off without a second thought and leaves Scottie to live with his guilt for the rest of his life. It's a tragic story with a tragic end and that's my kind of movie.