Speaker 1: This is a podcast from Minute Media.
Speaker 2: No time of my.
Speaker 3: Life like this people.
Speaker 1: Yes, us, it's up and I'm a hello everybody, and
welcome back to the Shirley You Can't Be Serious podcast.
We are back for part two of our Dirty Dancing
Versus Saturday Night Fever escapade movie versus movie, album versus album.
And the music on this stuff is amazing.
Speaker 2: The music is great, the movies are great, the characters
are great. It's iconic, two of the most iconic musical
movies of the decades. Yeah, now we're gonna be talking
about Saturday Night Fever, which has reached its forty fifth anniversary,
and Dirty Dancing, which has reached it's thirty fifth anniversary.
Movie to movie, we're trying not to talk to music
this time around. Then we'll compare soundtrack to soundtrack. We'll
dive into the music. But I want you to know
that talking about these movies is much more than just talking.
You gotta feel it. It's a heartbeat.
Speaker 1: Boom boom, boom boom. Jason, you have your hand on
my chest.
Speaker 2: Watch the hair, watch the hair.
Speaker 1: All right, everybody, welcome back. We're so glad to have you.
Be sure, and at this point if you can hit
the follow button, hit the subscribe button. We have a
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But if you're not able to do that, just hitting
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and in front of other people. And then of course
if you just tell other people about it, that's great too.
But if in your review you mentioned that you carried
the watermelon or that you have a night fever, then
we will put you in a contest for special prize.
Get to be determined.
Speaker 2: That is a challenge right there. We did that for
our Toto and Duran Duran episode and we had some
people meet that challenge.
Speaker 1: They went from the Serengetti plane up to the top
of Mount Kilimanjar.
Speaker 2: Let me read you one of these okay, okay, okay.
So we received one of these reviews from Sean Niehoff.
This was from the Toto and Duran Duran episodes we
just got done doing.
Speaker 1: I love Sean Niehoff. He's on our Facebook page all
the time. Super fan.
Speaker 2: Well here from them a lot, great guy. Thanks Sean,
We appreciate you. Here's what he had to say. It's
titled the Best Great Poto. I love pop culture and
these guys hit the best of the best of movies
and music. Keep up the good work. This podcast is
more explosive than Killiman Jarro. I highly recommend you will
not be disappointed. And I have been promoting this podcast
to other friends.
Speaker 1: Sean, we cannot tell you how much we appreciate that.
Love it, love it, love it. I hope you enjoyed
this episode, and thank you for referring us out.
Speaker 2: Thanks Sean, appreciate you. Buddy. Take the challenge, five star review.
Hashtag Night Fever, hashtag carry the Watermelon?
Speaker 1: What are we like teenagers? You don't have to put
a hashtag. Just say the word, man, just say the word.
I thought hashtag was like the thing you don't even
know what I.
Speaker 2: All right, so let's dive back into the movies, Saturday
Night Fever and Dirty Dancing.
Speaker 1: All right, So we just finished up our last episode
with casting. Now we're into production, and so Saturday Night fever.
In addition to not having the completed script and just
now getting the actors and a very new director and
a music style that was going out, they had another problem.
New York City knew who John Travolta was and they
wanted to.
Speaker 2: See Yeah, this is incredible. So the first day of shooting,
they're shooting in Brooklyn and all of a sudden word
gets out that Bennie Barberino is out on the street
filming a movie, and they had thousands upon thousands of
people show up right ever ruined the first day. They
had to go home on lunchtime.
Speaker 1: Yeah, they couldn't film a scene where there weren't hordes
of people in the background messing up the scene.
Speaker 2: Yeah, they went home at lunch. He's like, forget this,
we'll start over. They had to come out with fake
call sheets, we're going to be here when we're really here,
and they had to get up at five o'clock in
the morning and shoot before people were up and around.
Speaker 1: Yeah. Yeah, they it was all very bait and switch
and sneaking around just to get the scenes that they
needed to avoid. The fan base that John Travolta had
developed at that point.
Speaker 2: Yeah, it's really cool. One of the things I thought
was interesting about the development of this movie. Yeah, they
had to they're trying to find the tone, and the
movie that they were trying to sort of remake was
Rebel Without a Cause.
Speaker 1: Yeah, I can see that now.
Speaker 2: Then I have a question for you. Yes, sidebar okay,
is Urban Cowboy a remake of Saturday Night Fever except countryfied?
Speaker 1: It is kind of a countryfied version, isn't it.
Speaker 2: Yeah?
Speaker 1: Yeah, because there's dancing and sex and dishonest nastiness all
over the Yeah, it could.
Speaker 2: Be talking about yourselves. Yeah, Urban Cowboy modern remake.
Speaker 1: Topic for a discussion. Hit us up on Facebook. What
do you think Is Urban Cowboy just the countryfied version
of Saturday Night Fever.
Speaker 2: Hey, I've got something for you. This is a really
cool tidbit I found. Okay, okay, Yeah, So John Badam
who became the second director and ultimately the director of
Saturday Night Fever. So he's a Birmingham, Alabama guy.
Speaker 1: Okay, okay.
Speaker 2: And we've got a couple of buddies of ours that
we've interacted with. One of them is Van Allen Plexico.
He's an Alabama guy and David Wright lived in Birmingham,
Alabama for a long time. Okay, so I texted him aike, hey, Dave,
you got you know who John Badam is. He said, oh, yeah,
he's He's a huge Birmingham guy and he ultimately did wargames.
Remember the So here's the tidbit that I that I read. Okay,
So the multi colored dance floor that is hugely famous.
It's on the album cover, it's on the movie cover.
Speaker 1: It's iconic.
Speaker 2: Yeah, well that wasn't in the Odyssey. They got that
from a place called the Club in Birmingham, Alabama. What
does that match up with Birmingham, Alabama, not Birmingham in
England where is from? Birmingham, Alabama is responsible for the
dance floor in the New York City Discotheque. Yeah, that's crazy.
Speaker 1: But like I think, after this, everybody probably started emulating that,
trying to get that same light up floor.
Speaker 2: So I called him, I said, hey, listen, are you
familiar with the club in Birmingham. He's like, oh yeah,
like yeah, yeah, everybody knows the club.
Speaker 1: Wow.
Speaker 2: It's like this fancy country club like place. Wow, that's
where they got the multicolored dance floor.
Speaker 1: Fantastic.
Speaker 2: How about that great?
Speaker 1: So we mentioned before in our last episode that John
Travolta had fallen in love with this girl named Diana Hyland. Yes,
when he was making the first TV movie that he made,
which was Boy in the Bubble, and they were together,
they were close, and she was the one who had
encouraged him to go make this movie, even though at
the time she was battling breast cancer.
Speaker 3: Yes.
Speaker 1: And so while he's filming the movie, he gets a
phone call. They say, she's only got a couple days left.
You need to get out here. And so he has
to leave the movie in the middle of the movie,
has to leave, go to be with her, watch her die,
go to her funeral, and then go back and continue
to film this movie.
Speaker 2: Wow.
Speaker 1: And they said they'd see him on set and he
would just be over in a corner and quiet and
maybe tearful and looking away in a despondent way. And
they're like John, I've ever seen And he would pop up,
go do the scene, nail it, and then go back
and sit down and contemplate life. Wow.
Speaker 2: Yeah, all right, I got a couple of tidbits for you. Okay, Yeah,
these are found fascinating. Okay, so one of the very
first times ever in history, you have the use of
the steady cam. Okay, this guy named Garrett Brown who
would ultimately win a nineteen seventy eight oscar for his invention.
H He came up with this camera stabilizing device. Yeah,
that allowed him to carry it and it looked.
Speaker 1: Smooth on film. We've talked about him before. I'm not
remembering what episode, but I know that we've talked about
Garrett Brown and the steady cam before.
Speaker 2: You know what else? Was the first time to appear
in this movie the term.
Speaker 1: Job as in okay, just give me a yes, Oh
my gosh.
Speaker 2: Yes, we're gonna break down a few of the scenes
in this movie. But that's the first time ever.
Speaker 1: So talking about the steady cam.
Speaker 2: Yes, the opening scene of this movie is iconic.
Speaker 1: Walk him along the sidewalk, you know, he looks like
he's ready to go to the club. And we figure
out later why is he carrying a paint can? I know,
but you have this ultra cool, ultra well dressed guy
walking with a paint can checking out the girls and
it's all to the music staying alive and he's got
these amazing shoes.
Speaker 2: Right, he does have amazing shoes.
Speaker 1: So there was a rumor that went around for a
long time that those were not John travolt his feet. Now,
if you look at some point, you can see it
pans up from his shoes up to his face. So
at least part of it has to be his feet.
And that was the reason that they invented that steady cam,
in addition to the dance scenes, of course, is that
they wanted to be able to go from foot to face.
You can't. You don't want to cut away because you
want to see the rhythm of the walk and you
want to see the beautiful man.
Speaker 2: Right, that's right.
Speaker 1: And so that's how he had invented this steady cam,
is to put together this thing that could go backwards
and raise up in a smooth transition the whole way.
So John Travolta is like, finally I'm going to address
these rumors. Those were my feet. Those were not a
stand in's feet, not at all except for one scene. Yes,
And the one scene is the very first time you
haven't even seen his face yet. He walks up next
to the shoe store, sees the shoes in the window,
lifts his own foot up. That was the stand in,
and John Travolta was like, when I saw the movie
and I saw that and saw him kind of bounce
up and down like no balance, I would not have
done that to me. It was he was like dancing
to the rhythm of the music in his head or whatever.
But yeah, John Travolta was unhappy with the one stunt
double foot that he had.
Speaker 2: That guy's foot pissed him off. So here's what I
found interesting. Okay, the beaches weren't involved until post production, right, Okay,
the songs that they're dancing to, yeah, it's like Boss gags. Right,
So when Tony and Neett are in the dance studio
and they're dancing to the song, they weren't actually dancing
to more than a woman. They were dancing to a
song called low Down by Boss Skaggs. And I text
you this week, right, you know who wrote that song?
Speaker 1: I do because you texted it to me. Why don't
you tell.
Speaker 2: Me Boss Skaggs and David Page that's right, of Toto,
and who was playing on it, Steve Picaro and David
Hungate of Toto once again Toto making their stamp.
Speaker 1: So the Boss Skaggs song did not end up in
the movie, but they had done this. They had done
a dance scene to this Boss Gag song. Yes, so
there's a composer for this movie. Beyond the Beg's there's
a guy named David Shire. You hear the classical pieces
that are to the disco sound, right, He's the guy
that would put that stuff in. And so whenever they
had that scene that they thought they had music too
that they no longer did, he was the one that
was charged with composing music that would fit the scene
to the rhythm of the Boss Skag song.
Speaker 2: Okay, here's something that I heard and I don't quite understand.
But when they took the Beg's music and they're going
to plug and play as they do the dancing and
the music didn't match up perfectly, and so they had
to adjust some of the cuts to make it work. Yeah,
it seems to me when you hit exactly on the
same beat, it's just plug and play. But it wasn't
plug and play.
Speaker 1: Yeah, things were much less computerized back then.
Speaker 2: They thought they were in trouble. Yeah, so before I
leave the Boss Gags thing, Okay, he turned down the
opportunity to have low Down on the soundtrack.
Speaker 1: Yep.
Speaker 2: They were actually hoping to put it in another disco
movie that ultimately didn't pan out. Estimated costing five million dollars.
What five million bucks is.
Speaker 1: What he could have made had he left it.
Speaker 2: In there, if it had been on the soundtrack.
Speaker 3: Yeah.
Speaker 2: Wow, we're going to get into the soundtrack next week.
But gosh, it was the biggest selling soundtrack of all
time until The Bodyguard overtook it in ninety two. But
it was the best selling album of all time until
Thriller overtook it.
Speaker 1: Wow.
Speaker 2: One of the things I want to talk about is
the dancing scene. So John Tavolda we talked about how
he would have worked three hours a day. I cracked up, laughing,
I can't dance. But John Tavilda said, I would dance
for three hours and I'd run two miles a day. Mike, Well,
the three hours is impressive, two miles not so much.
He lost twenty pounds and actually when you look at
his audition tape, you can tell he lost He trimmed up, right,
He slimmed up. So he goes to watch the premiere
and when he watches it, He's like, where's my dance
and scene? I worked for nine months dancing every single
day and it's all close up. She can't see my feet.
So he got really mad. He's like, this is bull crap.
I worked freaking hard and you can't see my feet.
Are you kidding me? Nobody's gonna buy this, So he
called the producer, called Robert Stigman, and Robert Stigman said, listen,
here's the deal. I will let you choose which scenes
you want and which angles you want the directors in
the editing room right now, you know more about this
than I do. Go to the editing room, sit down
with them, and choose your scenes. So essentially, he gave
him final approval on all the scenes. So when he
shows up in the editing room, the director is like, say, what,
you're gonna tell me what to put in this movie?
So they're really mad and Jodge Villas, Look, I'm not
gonna take up your time. Here's what I'm gonna tell you.
I want full by. I want head to toe coverage
until I point the finger, then you can go close
up everything else. I want to see everything on the
dance floor. That's the difference. Yeah, we believe he can
dance because we can see it.
Speaker 1: The scene would have lost all meaning had it been
in a close up. The entire time, John Travolta was
one hundred percent right, stay on the main shot until
I point and move, go to a medium shot for that,
and then go back to the main shot to That's
all you have to do, not hard.
Speaker 2: I thought it was interesting. He So he's shooting Greece
at the time they're editing this, right, he invites the
Grease people with him, okay, and that's when he's sitting
there and he's like, this is bull crap. You guys
don't understand. I've been dancing for nine months.
Speaker 1: Yeah.
Speaker 2: And they're like this is great, and he's like, I'm
freaking getting a piece of somebody tomorrow, right.
Speaker 1: Robert Stegman also produced Grease, By the way, is that right? Yeah?
I did not know that.
Speaker 2: That's why freaking the Beegi's are on the Grease soundtrack.
Of course, it makes sense now, it all makes sense. Wow, Okay,
I got something. This cracked me up, all right. Huh
So the iconic pose of John Travolta in the white
suit with us out and the one arm pointed in
the air, right, It's on the freaking soundtrack, It's on
the movie cover, it was on posters, it was everywhere.
Speaker 1: Yeah, you know what I'm talking about.
Speaker 2: Yeah, it's not in the movie. It's not in the movie.
Speaker 1: Waiting for that, I'm like, where's the scene from Airplane?
Speaker 2: Exactly? I was just getting ready to say, you know
what movie it is in Airplane? Yep, but that finger
pointing thing.
Speaker 1: Yeah.
Speaker 2: This happened at the end of a fourteen hour day
and the photographer said to John Travolti. He's like, okay,
I need a couple of pictures. He's liked, dude, I'm
so tired. I just want to go home and go
to bed. And he's like, no, no, no, just a
few more minutes. Let's just take some pictures while you're
all dressed up and stuff. So you picture, pitch your picture,
picture my trip. And he's like, all right, all right,
you have anything else that you can do. He's like, well,
how about this coun And he thought next thing? You know,
that pose is everywhere and he's like, I can't believe
that's the one that they chose. Yeah, in credible right, yep.
Let's talk about the bridge scene. For a second.
Speaker 1: Okay, let's bring the music and the lights down a
little bit, shall we.
Speaker 2: Okay, Oh my gosh, I mean this movie is kind
of a bummer, right, kind of kind of a bummer,
kind of a bummer, yes, yes, and the Holocaust also
kind of. So for whatever reason, these morons decided to
pull the car over on the bridge and they're dancing
around on the dirtors and they're taking their lives in
their own hand. But while they were shooting, Donna Pesco
is watching them, and there's that scene where it's kind
of a fake fall, right. They're all jump and like
ah yeah, and she's like ah, she freaks out. They
played a trick on her. She thought they had actually
fallen off.
Speaker 1: Her reaction is genuine legit wow, because it's terrified when
she's like that was real, that wasn't scripted.
Speaker 2: Nice, that's not cool.
Speaker 1: No, it's not cool, but freaking not cool. Yeah. I
thought you're going to talk about the next bridge scene
where he does actually fall right after she gets gang
raped in the back.
Speaker 2: Of the car. What in the world is going on
at the end of Saturday Night Fever. It's like they
kiss you and then they kick you. In the nuts.
Speaker 1: Yeah, I don't even know that. I'd call it a
good kiss, right, Right, It's like it's like they showed
you a pretty picture and then they kick you in
the nuts. That's true, and then they kicked you in
the nuts again. They kind of build up I mean, what.
Speaker 2: We're kind of getting in judgment here.
Speaker 1: Well, I don't care. We're talking about the movie. We're
talking about how it come out. So you've got this
seemingly horrible human being, right, Yes, he's racist, he's sexist,
he is a crap employee. I mean, he's he cares
about nothing but himself, right, yes. And the only thing
he's good at is dancing. Yes, and he only uses
that as a way to show off and to get chicks.
I mean that's it. Yes, And so you think, oh, hey,
he's gonna win the dance competition at the end and
it's gonna be redeeming. Except yeah, he wins it, but
then he gives the prize away and says it's not
real and then goes tries to rape a girl in
the back that's supposed to be the love interest.
Speaker 2: What the heck. I'm totally with you, man, because I'm
watching I'm like, Hey, they won, and they steal every
ounce of joy out of that victory because he's acting
like a total jerk after they won.
Speaker 1: I mean, if the message is supposed to be, hey, guys,
if you're about the mead generation and the me decade
of the seventies, this is what a douchebag you look like.
Then they succeeded. I cannot figure out how this is
Gene Siskel's favorite movie of all time.
Speaker 2: Kenn either can either imagine the movie The Karate Kid.
Daniel LaRusso kicks Johnny Lawrence in a face to win
the Hill Valley Karate Championships, and then he turns to movies,
and then he turns into a brat at the end
and breaks his trophy and says, this is stupid. I quit,
and then.
Speaker 1: Has a friend go killing and then treats the one
redeeming character in the whole movie like crap until she
gives herself up after taking numerous drugs and then gets raped.
Speaker 2: It's just this movie is profane, it is racist, it
is sexist.
Speaker 1: It's homophobic, it is it's just bad all over the place. Obviously,
you can see how we feel about the movie. We
we kind of tipped our hand a little early on this.
But it's iconic, and I can't figure out how it's
iconic other than this is why I said this on
the last episode. The music and it captured a moment
in time.
Speaker 2: It really did. Yeah, and I'm with you. The music
is so massive to the success of this movie. Ye,
except Gene Siskel, this is his all time favorite movie.
Speaker 1: He bought the suit. He bought the White Points.
Speaker 2: One hundred and forty five thousand dollars for the suit.
Speaker 1: I don't get it. It is iconic and you had
to maybe you had to be in New York City
in the seventies to really but I mean it's it
was worldwide. I don't Yeah, Okay, keep going.
Speaker 2: Okay, listen to this, the part where Annette comes up
to Tony and says, guess what good news? Handful of condoms?
Speaker 1: Oh yeah, yeah.
Speaker 2: And you think this poor girl is so desperate, so lonely,
and then Tony just crushes her. You are not even
worthy to consider. I mean, I just feel terrible for
this girl the entire and then she's gang raped in
the back of the car where they're driving around. It's gosh, okay,
and then you have the ridiculous bridge scene where.
Speaker 1: The other guy who you at least feel sorry for,
he's kind of the runt of the group. Yeah, and
he's a coward and he gets fed up with nobody
listening or caring about him. And the freaking the fight
scene they go to this they wrecked the car, they
go through this mask. I'm like, well, at least they
stand up for their buddy. And then they go and
see the buddy. He's like, well, yeah, it might have
been that. They're like, what do you mean might have
been He's like, well, that's what I said. I thought
it was because you said that you thought it was that,
And it's like, yeah.
Speaker 2: But I met like I thought, I wasn't sure what
they Still all the joy from that scene.
Speaker 1: Is every time there was some kind of redeeming thing
going on, they yanked the rug right out from under you.
Speaker 2: Okay, okay, I'm glad that you feel that way. Have
you ever seen the movie Staying Alive?
Speaker 1: I have. I don't recall it. It's been thirty years ago.
Speaker 2: Entertainment Weekly named it the worst sequel of all time.
Now we're getting ready to do Superman four this summer. Yeah,
and Josh four. Yeah, and I talked about Crystal School.
We might have something to say about that, right, The
gang fight, the gang rape, the bridge death.
Speaker 1: And then what's the end of the movie. What is
the end? Like he watches his friend kill himself and
his long night of self reflection makes him realize he
needs to go back to the girl that he tried
to rape and see if he can move into the
city with her. That's his big aha moment.
Speaker 2: Are you kidding me? She barely lets him in the room,
and I don't blame her. I'd been like, screw you.
Speaker 1: Yeah, and she hugs him at the end. It's so bizarre.
Speaker 2: All right, before we move on, let's go back.
Speaker 1: To Dirty Dancing. She's on the wind too much?
Speaker 2: Yes, okay, I want to talk about the filming locations
of Dirty Dancer really quick, OA, because it's supposed to
be the Catskills in New York. Yeah, they actually filmed
it mostly in North Carolina and Virginia. Yep, it's kind
of right on the edge of both states. Yeah, they
found a hotel in both of the places that was
the right fit. But obviously they're not the same style.
They're in two different states, So do you know what
their magic ingredient was for making you feel like you're
in the same place. Now, what the posts and the lights.
If you'll notice when you watch the movie, people who
are listening to this podcast, check it out the next
time you watch the film. They're white posts with little
lamps on top of them all over the place.
Speaker 1: Okay, all they did was put them up in Virginia
when they packed up and left, they took him and
even though it's a completely different place, you felt like
it was the same place because it had the same
posts and lamps.
Speaker 2: That's fascinating.
Speaker 1: Kicks them over. He kicks it over at one point,
kicks over the post and the lamp so that he
can break through the window of the car. Yeah, I do.
That was the key to making them appear to be
the same location.
Speaker 2: That's interesting. They did a good job with that.
Speaker 1: Yeah.
Speaker 2: Now that scene you're right there you're referring to, yeah,
is stupid because it's like, Okay, it's raining. Patrick Swayze
is like, let's get out of here. He goes to
his car and he's like, crap, I locked my keys
in the car. And when I first watched it, I'm like,
I think he's stealing this car. I don't think this
car belongs to him. But he gets pissed and he
takes his post and he smashes the window. Maybe check
your pockets. You got a replacement key instead of bashing
out the window a little?
Speaker 1: Well, I mean, if you see the keys in there,
they're definitely in there. But yeah, I mean, get a
coat hanger. I mean, is this we're talking about a
fifties car. It wasn't like it had theft prevention on it.
Get a coat hanger. Pull the lock up. Go ahead.
Speaker 2: I've locked my keys in my car many times.
Speaker 1: How many times have you smashed the window?
Speaker 2: About zero?
Speaker 3: All right?
Speaker 2: Okay, So here's the thing about the location I want
to talk about. Okay, So Lake Lure, North Carolina. The
Mountain Lake Hotel was very near Pembroke, Virginia. Okay, So
the lake, the beautiful lake setting of dirty dancing. This
is a place I want to go. I want to
go and fish and golf and hang out. No, really
want to dance, but I want to go. This place
looks gorgeous and beautiful.
Speaker 1: Okay.
Speaker 2: So ever since two thousand and three, okay, that lake
has been dry.
Speaker 1: Yeah, yeah, that's right. I saw that it was had
completely dried up.
Speaker 2: It's like heartbreaking, right, Yeah, it's something natural about this lake.
It goes away and then it comes back. What it
goes away and it comes back. I'm not a geologist,
but here's the thing I saw.
Speaker 1: Sorry, keep going. I'm not a geologist.
Speaker 2: I'm not a geologist, but I do have an opinion.
Speaker 1: Okay, I can't wait.
Speaker 2: I'm very happy to report the lake is coming back.
Oh wow, I saw a video of a girl who
had visited during the pandemic last summer. Yeah, and it's not.
Speaker 1: What it was.
Speaker 2: But the lake is coming back. Wow, it's restoring.
Speaker 1: That's awesome.
Speaker 2: So nineteen years later, Yeah, it's coming back.
Speaker 1: So crazy. I wonder how that works. I don't Maybe
we should ask a geologist.
Speaker 2: Speaking of that lake, there's a famous scene in the
movie where they're working on the lift.
Speaker 1: Yeah.
Speaker 2: Okay, So they started filming Dirty Dancing September fifth, nineteen
eighty six. They wrapped production in October twenty eighth. Well,
this is one of the last scenes shot in the movie.
In fact, it was cold, the weather was cold, and
the water was cold. And in fact, if you look
Jennifer Gray's lips are actually blue.
Speaker 1: I wasn't looking at her lips, but I could still
tell it was cold.
Speaker 2: Winter. That scene was of course shot in that lake
that has eventually gone away, and there were indications that yes,
she was cold.
Speaker 1: Yeap. So on that topic, during the love making scenes, yeah,
she did have nudity in those scenes.
Speaker 2: This blows me away. Keep going.
Speaker 1: So she comes back later on and says, do we
really need the nude scenes in there? Is there any
way that we can get rid of those? And who
she Jennifer Gray, okay, And the producer is like, well, yeah,
I don't know. I mean, let's talk to a Meal
about it and then let's see what he thinks. And
a Meal like, I think it might be better without them,
because without the nude scenes, she maintained that purity, that youth.
I mean, obviously this is a girl who is becoming
a woman. Yes, but I think that to have that,
to have the nude scenes in the love making part
of the movie would have taken away from it. And
I think it was the perfect choice to take it out.
Speaker 2: I one hundred percent agree with you. Yeah, Baby is
supposed to be seventeen, the character's age of seventeen. Yeah,
when you remove the nudity, it does allow that sort
of innocence to maintain. You do kind of see her
bare back, you can tell that they've had sex, that
you can tell she has not remained pure, but it
does allow for that kind.
Speaker 1: Of it's more of a beautiful love making thing, that's right.
Speaker 2: Yeah, that's right. And I love the fact, unlike Saturday
Night Fever, where all those guys care about it getting
laid the entire time, Johnny is not really interested in that.
It just kind of their relationship develops and goes to
the next level and it just happens rather than chasing
her the whole movie. So I think it's interesting that
Johnny's character and Penny's character had a relationship they have
sort of since outgrown. Yeah, one of the things we
need to talk about the fact that Penny gets pregnant
by Robbie.
Speaker 1: Yeah.
Speaker 2: You know that almost forty percent of the people who
viewed this when they came out of the movie theater
did not realize that there was a subplot involving abortion.
Speaker 1: It's impressive and important because they were targeting, you know,
fourteen year old girls like that was that was the
target demographic for this movie, right yep. So it got
an R rating and they're like, crap, that ruins everything.
And so Linda Gottlieb called up her friend was the
MPAA director. He's like, what needs to go Listen if
I take out two and three minutes we Puvedichi and
he's like, yeah, you can do that, and so they
took it out, and they guess taken out the nudity.
So that's not a problem either, although in the eighties
nudity was less of a problem. The f bomps right,
but the abortion part was still a problem because the
company that was sponsoring the movie, the distribution of the
movie was Clear, a cell.
Speaker 2: A product for teenagers, a.
Speaker 1: Pimple product for teenagers. They were going to put a
clear cell bottle picture on every poster.
Speaker 2: Really, yes, And.
Speaker 1: So then clearsil watches the movie and they're like, wait
a minute, wait the abortion? What?
Speaker 3: What? What?
Speaker 1: And so they contact the producers, one of which is
the woman who wrote the movie, and they say, can
you take out the abortion part? And she says, if
the abortion is gone, there's no reason for her to
dance with Johnny, there's no reason for her to have
this close contact with them all the time. There's no
reason you lose the entire thing if you take that out, Like, yeah,
I guess so. So they lost clear sell As as
a sponsor. Wow, Cynthia Rhodes says. At some point as
they're filming, as they're in production, goes to Eleanor Bergstein
and says, I feel like my character needs to explain
why what happened happened? Okay, and Eleanor says, I think
you're right, and goes and writes the scene. That was
Cynthia Rhodes's idea that she should explain, Hey, here's what happened,
and here's why it happened. Thought I was in love? Yeah. Yeah.
Speaker 2: Robbie's such a turd.
Speaker 1: He is a total hate Robbie.
Speaker 2: Well, Robbie could hang out with the guys from Saturday
Night Fever.
Speaker 1: He really can't.
Speaker 2: So the abortion is vital to the plot of the
movie because if there's no abortion, there's no reason for
Penny to miss the dance, and therefore Jennifer Gray doesn't
have to step in. I get all that. What I
don't get is, could you not read schedule for a
different day if it's that important? I mean they talk
about how they have to do this dance so they
can have the money and all that is. I mean,
it's a back alley doctor, I get it. But it's
illegal at that point. Well, that's true.
Speaker 1: So to find the guy that's going to do it,
that's going to be in the neighborhood is probably pretty tricky,
that's true. Okay, So this movie starts off with no
not baby, but it's the opening credits and it's black
and white footage of people dirty dancing.
Speaker 2: Right.
Speaker 1: It gives it away right out of the gate. Hey,
here's what dirty dancing is gonna be. And it seems
like maybe that would be something that you wanted to
save until later. But because they had this target audience
of pre teenagers or teenagers that they were hoping to get,
they put that scene first to kind of give them, hey,
heads up, Hey, there's what's going to be coming later
on the dirty dancing part, right, And then we're going
to move from that into the real opening scene of
the movie where she narrates a little bit as she's
reading this book. Interesting, Okay, the name of the book
is The Plight of the Peasant. Okay, when I listened
to the commentary, Eleanor Bergstein made a point of pointing
that out and said nothing else about it. There's no
such book. It is a book that appears to have
been made just for the movie, but for some reason
she wanted to point it out and then not explain it.
I don't get it. There is no book called Plight
of the Peasant. Now, this movie is very much about
classes and the separation between them, and so maybe that
plays into it a little bit.
Speaker 3: But it's just.
Speaker 1: Weird to me that not only are they going to
put a prop titled book in there, but she's going
to point it out on the commentary and then not
explain it. I don't get it.
Speaker 2: That is weird. Yeah, let's talk about the dirty dancing scene.
We can't really talk about dirty dancing without talking about
the dirty dancing scene.
Speaker 1: Well, one thing I do want to note before we
get to that, the music changes. Right when you hit
that scene. You've got a different kind of music, a
different style of music than you had leading up to
that scene.
Speaker 2: Yeah, this was deliberate.
Speaker 1: She wanted clean music up until that point, and then
when she hits the dirty music, that is where Baby
finds her rhythm.
Speaker 2: Okay, she's gone on a walk. She's wandered into the
area where the staff stays. Yep, clearly they're having a party.
She carried a watermelon. Guys of Karens trying to carry
three gigantic watermelons, so she helps him out. She has
crossed over rights, a little threshold. She crosses the threshold. Yeah,
that staircase, by the way, is in North Carolina. Okay,
on private property now in case she wanted to go
see it. Oh wow, okay, especially permission to go there.
But when she enters, it's like Dorothy going to Oz.
It is you open the door, her eyes are opened.
What is going on here? Dirty dancing and they're having
a blast and all that crappy little waltzon and stuff
that I've been doing with my parents and stuff. I
don't want to do that. I want to do this.
Speaker 1: So the scene, that dirty dancing scene where she pops
in and it's like the Wizard of Oz doors opening. Yes,
they only had three days to shoot that scene. And
after shooting for two days, they watched the footage. Eleanor
Bergstein watches the footage and she's like, this is the
most important scene in the movie. And they didn't get it, okay,
they didn't get it right, okay, and so they've only
got one day left. They don't have enough money to
keep on going. Like there's she thinks it's ruined, like
the movie is ruined. She stays up the entire night crying.
She gets up the next morning, has her assistant helper
like put ice on her eye so they don't seem
all red. She goes in and a Meal immediately is like, okay,
what's wrong, What's what's going on? What's happened? And she's like,
I just we didn't get it. We didn't. It's not right.
It doesn't wow me, it doesn't pop like it needs
to pop. And Emil says, give me the day and
I will make it. And it was that last day.
It was that third day, okay. Took those dancers and said, yep, okay,
we're gonna do this. We're gonna shoot it differently, and
that's what we get. And that's the scene that makes
that crucial part of.
Speaker 2: The movie app Absolutely. It has to change baby's life, right, Yeah,
she's got to see it. She's in oz now, she's
changed forever forever. Yes, all right, do you let's take
a quick break and just hear from our friends at
Vintage Video Pod.
Speaker 4: On the Vintage Video Podcast, we'll be reviewing every single
wide release of the nineteen eighties in chronological order, over
two hundred and fifty episodes to enjoy and thousands more
to come. Sean enters the store now to order another
can of ether. I picture him outside like Homer with
the gas a halt when.
Speaker 2: For you win for me?
Speaker 4: I also like to think about that the kids renew
their vow not to talk about the murder. They're taking
a blood open with someone else's blood.
Speaker 1: The stuff is seven times more powerful than uranium.
Speaker 4: Hey, they open up the vault that it's contained and
not wearing any kind of protective gear, and it's wooden Crates,
Wooden Crates. It's like the guys in Chernobyl picking up
the graphite rocks, Yeah, and going because there's rocks hugging
the elephant foot. It's just like, oh, this thing's smooth,
it's so warm. He turns to dial the number from
the classified AD without even thinking about the numbers. We
know this because we can hear his thoughts, and he's
talking about how A J was right that ninjas are
misdirecting him. I really wish they'd turn to the fun
of men, Like six six five Vintage Video we're rewatching
the eighties, so you don't have to love it.
Speaker 1: Definitely go subscribe to that podcast.
Speaker 2: They're great fun. They do kind of what we do
over there. Check them out Vintage Video Pod.
Speaker 1: There were three different types of music, and therefore three
different types of dance that they used. You had the
dirty dancing dancing that what that represented the low class,
the peasants, if you will. And then you had the
kind of foxtrot of all the old people up in
the gazebo that was being led by Penny, and that
was the rich class music. And then you had the
tango scene between Johnny and Penny in front of everybody else,
and that was kind of the we're trying to make it,
you know, we're trying to get out of one class
and into another class, and we're driven and passionate, and
that's those are your three classes of dance.
Speaker 2: That seems interesting to me because Johnny and Penny are
killing it and mister Kellerman gives them the dirty look,
they have to knock it off.
Speaker 1: Yeah, they have to slow it down and start dancing
with the other folks. And here I want to point
this out. We didn't mention last time when we were
talking about casting. Max Kellerman, the owner of the hotel,
is played by Jack Weston. Yes, and Eleanor is you know,
before they've started production. Eleanor is walking by him and
he's running over his lines, and he's doing it in
this kind of weird sing songy voice and trying to
find the character, you know, and she stops and she says, Jack,
Max is the king of the hotel. The hotel is
his kingdom, and he is the king. And so Jack
is like, okay, I had a bow tie on. He leaves,
he comes back, no bow tie, He's got a straight tie.
Now this is the bow tie made me look too comic.
I want the straight tie. And if you watch it,
think it. If you like look at this guy and
you say that guy thinks he's the king, you're right.
That's exactly what's going on.
Speaker 2: That's that's great man.
Speaker 1: His son, Neil Kellerman is the character. Lonnie Price is
the guy who plays this character. So here's my story.
Speaker 2: Here.
Speaker 1: After they had come out with the movie, it's playing
in various theaters. They're getting a feel for how it's doing,
and Eleanor talks to Lannie on the phone and she's like, so,
you know what other theaters have you seen it in
since we saw it together. And he's like, oh, I
haven't gone to see it anywhere else, and she's like, oh,
you should. There are different reactions for different audiences. You
should definitely go see it. And so about a week later,
she calls him up. She's like, so, did you go
and see it in another theater? And he's like, yeah,
I did, and she's like, well, what's wrong. He says, well,
there were these girls that were sitting in front of me,
and whenever I had my line, there's just some things
you don't want to see the girl in front of me.
Yielled Yeah, like your face, poor guy, poor loney price.
Speaker 2: Okay, I want to talk about the line nobody puts
baby in a corner.
Speaker 3: Okay, nobody puts baby in the corner.
Speaker 2: That line. Patrick Swayzey dug his heels in and said,
I am not freaking saying that it's ridiculous. It is ridiculous.
Speaker 1: And it's not as though Eleanor Bergstein was tied to
the line either. She was like it's just the line,
you know, no big deal.
Speaker 2: It's interesting to me because it is so iconic.
Speaker 1: It's it's maybe more famous than the movie itself. People
will know nobody puts Baby in the corner and not
know that it comes from Dirty Dancing.
Speaker 2: And Patrick Swayze is like, I'm not freaking saying this.
It's stupid.
Speaker 1: It doesn't make any sense either. She's not really in
a corner. She's next to a pillar. She's sitting at
the table with her family. Nobody puts baby at a
table with her parents. I yeah, I My only thought
is that because it seems slightly out of character, and
also because it's like him kind of rescueing her back.
I mean, when they part ways, you know, and he
drives off on the gravel road and kicks up those rocks,
you think the movie might be over right, right, and
this is just one of those movies where she had
a summer experience and grew as a woman, and that's it, right.
That comeback scene is like, oh wow.
Speaker 2: Yes, we got to talk about that scene. The finale
of Dirty Dancing, when Patrick Swayze it comes back storms
the stage and says, I always get the last dance
of the summer. He's already been fired. Get out of here,
see ya, Yeah, he says, nope, I'm coming back. It's
almost like the end of Officer and a Gentleman. He
kicks in the door. I'm here to get my woman
and do our dance right right, and I'm sorry. I
don't care how masculine you are. You are soul dead
if the lift doesn't make you a little bit misty
where you're like, all right, it's freaking off. Yeah, absolutely,
so they come back. He shows up, He cues the
guy with the record, All the other dancers start dancing
in line. He does this massive jump off the stage.
Of course, the song is incredible. I've had the time
of my life. And the lift scene that's so famous.
Jennifer Gray said they did it one time and she
hasn't done it since.
Speaker 1: It is a way to bring it home like I
wanted to happen in Zaturday Night Fever that I did not.
Speaker 3: I got kicked in the nuts.
Speaker 2: I'm telling you, my ninth grade girlfriend would have married
me on the spot if I could have pulled off
the lift right. And the song's great and everybody's dancing.
Kelly Bishop, who plays her mother, says, I think she
gets that from me. That's a nod to her because
she was in the original cast of.
Speaker 1: The course line.
Speaker 2: Yeah, she's a dancer, she's a dancer. Yeah, we've already said.
I mean, women just love this movie because it's from
a woman's point of view and Johnny takes the time
to teach her how to dance and brings her into
his world and rescues her from the safety of her parents.
And this movie just appeals across the board to women. Yeah,
it appeals to me. I love it.
Speaker 1: So of course you see the same dirty dancers all
the time, right, yes, And these are all actors who
didn't know each other before. They came to the set
and started pumping and grinding on each other like they
knew each other a long time. So they to make
the girls more comfortable, they told all of the guy dancers.
They're like, listen, here's the rule. You can't make any
kind of phone calls or contacts with any of these
girls until six months after the movie. Like that's the rule. Okay, Well,
there's no freaking way they can enforce them. I mean
what I mean, they're already there. They were already going
to hire what are you going to do get the
money back? No, it's not going to happen, right, she says.
So then they start dancing. They're shooting all these scenes,
and at some point the guys come back up to
her and they're like, okay, so do you mean six
months from when the film wraps or six months from
when the movie is released.
Speaker 2: He's like, there's no sweet.
Speaker 1: They're trying to do exactly what I said, but they
definitely wanted to call those girls.
Speaker 2: It's kind of like when the camp counselor tells you
not to go over to the girls area at summer camp.
Speaker 3: Yeah.
Speaker 2: I'm not sure that everybody followed the rules, but at
least they tried.
Speaker 1: Yeah. Okay, So two interesting little cameos that happened in
Dirty Dancing. Okay, okay. Eleanor Bergstein, the writer. Yes, you
can see her for just a split second, just as
Baby comes running up to get Johnny. He's dancing with
this woman. The woman that he's dancing with is Eleanor Bergstein.
When they filmed it, the dancing part was much longer
and she had much more time on film. But when
they started editing, she gets a call from a meal
and He's like, listen, I'm really sorry, and I won't
do it if you don't want me to, but we
really need to just get rid of this part of
the scene.
Speaker 3: You need to get it.
Speaker 1: She's like, do what you need to do, do what
you need to do. Uh huh. But then whenever they
would go to the movie afterwards, every time that scene
came up and she was with him, he would go,
who is that wonderful woman?
Speaker 2: Why can't we see more fun?
Speaker 3: That's good?
Speaker 2: Yeah, you know she wanted to hire doctor Ruth Westheimer
to play a part in this movie.
Speaker 1: That funny, doctor doctor Ruth.
Speaker 2: Yes. The character that she wanted her to play was
Missus Schumacher, the thief. Okay, and doctor Ruth was like,
what she's a thief? No, I cannot Yeah, that's funny,
that's funny. Let's slip back to Saturday Night Fever and
talk reception. So we talked about how the seventies were
depressing really until Disco showed up. Right, Disco reminds people
that Saturday night is for having fun.
Speaker 3: Yeah.
Speaker 2: Well, Paramount knew that they had good music, but they
didn't believe in this project at all. Okay, And to
say that they didn't believe in it is an understate.
Speaker 1: Okay.
Speaker 2: We talked about how this movie has profanity, it has racism,
it has rape, it has drugs, and there was also
that anti disco sentiment out there, right, disco sucks. Well
when they go to the premiere, they have it at
the man Chinese Theater. So at the premiere you had
Penny Marshall and Cindy Williams Lavernon, Charley Laverne, Shirley Shamiel Schmankle.
You had John Ritter and Suzanne Summers.
Speaker 1: Yep.
Speaker 2: You had Hugh Hefner, Okay, you had Peter Frampton. Yeah,
and of course Ernest borgnine, Well sure, why not. I
mean he was about to be Vito Corleone except that
he wasn't, except that he didn't get that part right. Anyway,
it was just fun. Diana Shore was there interviewing John Travolta.
It is very seventies event. It was a lot of
fun to see these old celebrities. The movie made more
than two hundred and eighty five million dollars and revitalized disco.
It was a pop culture nuclear bomb. Yeah.
Speaker 1: I was waiting for it.
Speaker 2: It was I mean, it's not an exaggeration, and it
brought disco right back front and center for the next
few years. Yeah, absolutely, until disc Go Sucks Night at
the Shadow of White Sox Game seventy nine. Death of
Disco and then the soundtrack that comes with it was hugely,
immensely popular. Yep, I was telling you, and I don't
want to give too much away because we'll talk about
the soundtrack next week, but it's some of the earliest
songs I remember from my childhood.
Speaker 1: Yeah, they didn't put disco duck on there. Apparently at
one scene he danced a disco duck, but they then
put it on.
Speaker 2: There was a disco Star Wars song, the John Williams
Star Wars theme Disco.
Speaker 1: Yeah, disco was big, Yes, it was okay, So reception
on Dirty Dancing, Yes. First they want to show the
film to the vestaurant people, right, yep. But honestly, none
of them have any significant movie producing experience. So they
call up this guy that they know named Aaron Russo.
Aaron Russo was a producer on Trading Places. He was
producer on The Rose with Bette Midler, and so they
bring him in to give his opinion on the movie,
and so they're all sitting there watching, and they're really
kind of watching him watch the movie, right, yeah, sure,
and they're thinking, okay, that's going on, yeah watching, yeah yeah.
And so they get done. He turns to the board
and says, burn the negatives and get the insurance money.
Speaker 2: Such a heartbreaking story.
Speaker 1: And they're like, what he said, burn the negatives and
get the insurance money, as in, don't let anyone else
watch this movie. Get your whatever money you can get
back out of it, right now, burn the negatives.
Speaker 2: And it's crazy. It doesn't make any sense to me.
Speaker 1: It doesn't make any sense, right.
Speaker 2: He's solely you can't wash that lift scene and think
burn the negative.
Speaker 1: So they convinced the board to release it to one
theater before they make the decision on whether to release
it or not. Right, it's about a thousand people there
to watch the movie. End of the movie. Quiet for
a second, and then the crowd goes absolutely nuts and
they're like, ohh all right, well maybe this isn't as
bad as we thought it.
Speaker 2: Was, right, Yeah, this sounds a lot like the reception
that Purple Rain got when they would drop it and
they would bring back the numbers and people were like, Nope,
don't believe it. Try again.
Speaker 1: Yeah, they weren't sure just based on this one audience
reaction that was going to do well. They thought it
was going to be like a weekend deal. You know,
it'll be out for the weekend and it won't do
that great and people will move on or whatever, right, right,
And so they come to watch it fourth night after
it's been released, right sure, and they're sitting in the
theater and Eleanor Burgstein is sitting with her husband. Now
you know that the scene is that it seems to
be the end scene where they're seeing the Kellerman anthem
where that Johnny comes in and interrupts with there they're
all say, and it goes on for a little bit,
quite a few words. Sure, well, her husband's the one
that wrote that anthem. They're like, hey, we need a
finishing anthem. He's a well regarded poet, and so they
call on him. He's like, okay, I'll write the words.
He writes the words to the anthem. And so they're
in the theater now four days after it's been released,
and that part of the movie comes on and there's
this group of girls out in front who are singing
a long word for word with the anthem. And so
they leave the theater and Paul Michael Goldman is his name,
and he's he's like, did you hear them singing my song?
Speaker 3: Yeah?
Speaker 1: And she's like, yeah, yeah, your song's really good. He goes,
do you know what this means? She goes, yes, I know.
It means you wrote a really good song. He goes, no.
The movie's been out for four days. They've come to
see it over and over in order to memorize the
words to that song. Yeah, you don't know what's about
to happen, but I do. This is going to be amazing.
And sure enough he was right.
Speaker 2: He was exactly right.
Speaker 1: It was a pop culture nuclear bomb.
Speaker 2: Yes, it really was. Both of these movies were pop
culture nuclear bombs. Now, the woman that I heard interviewed
she had seen it like fifteen times in the first
two weeks or whatever, and they're like, why do you
keep coming back? We tell us why? What are we
not understanding?
Speaker 1: She said?
Speaker 2: Listen, when I was young, I got pregnant, I married
a guy that I didn't love, he left, I'm stuck,
and here I am. I never ever had the time
of my life, and this movie does it for me?
It makes me want to like well up and cry
here in that story.
Speaker 1: Yeah, yeah, So I can't wait to talk about those songs.
I know.
Speaker 2: Right, One more quick story. Okay, So the director emil Arderlino, Yes,
he tells us to sorry, I listened to the commentary.
Speaker 1: Okay, Okay.
Speaker 2: He tells a story. His mother was two weeks away
from marrying a dentist. Okay, okay, and right before her wedding,
she had already received all of her gifts. Church is reserved,
dress has bought, everything's planned, They're ready to go. She's
ready to walk down the aisle okay. And then her
girlfriends take her out for dancing, sort of a bachelorette
type of thing. She meets a guy on the dance floor,
she falls in love, She calls off the wedding and
never marries the dentist.
Speaker 1: What yep?
Speaker 2: Okay, And he was the product of that love affair.
Oh my gosh, pretty cool?
Speaker 1: Right, wow, that's awesome.
Speaker 2: No word on how that marriage ended.
Speaker 1: But his dad was Johnny Castle. That's exactly right, all right. Okay,
So this is funny because this is making me think.
So Rachel on Friends was supposed to marry Barry. Yes,
and then she walks away like you should come to
the very first episode, she's in the wedding dress, right,
and then later on she has a friend show up
who's going to marry Barry, and her friend is Jennifer Gray. Yes,
and Barry is a dentist. Hey, oh my.
Speaker 2: Gosh, how about that.
Speaker 1: That's kind of crazy. Okay, that's fantastic. Well, yeah, so
emil Ardolina was a key component in this thing. He
obviously dance was an important part of his upbringing. You know,
it was the reason for his conception, I guess. Yeah.
But they said that he had the ability to make you,
as the audience member, feel like you were dancing. You
saw all things through baby's eyes, and you felt like
you were a part of what was going on on
the dance for Key to the movie.
Speaker 2: Loved it. Okay, we ready for final judgment.
Speaker 1: Let's do it.
Speaker 2: You want me to go first? Sure, Okay, this is
easy for me. I'll surprise, all right, I'll be quick,
all right for me. Both of these movies are hugely
iconic pop culture. Nuclear Bombs, It's Undeniable, Saturday Night Fever
was huge in the seventies. Dirty Dancing was huge in
the eighties. The soundtracks are massive and I can't wait
to die into those. Okay, Now it comes down to
me personally. I like to have fun and feel good
when I'm at the movies. Okay, the last scene. Let's
just take the last scene of both movies. Okay, Yeah,
you have a dance contest that is spoiled by bad
attitudes and discontentment, gang rape, and a suicide. Roll credits, right,
three kicks in the balls and roll credits. At the
end of Dirty Dancing, you have the hero coming back
for the princess, rescuing her, having the dance. They play
the pop song of nineteen eighty seven and he does
this fantastic lift and it's all love and hugs and kisses,
and it's everybody dancing, having a great time. It's like
the end of Footloose, where you're at the problem and
you're dancing, you're party and you're having a great time
slamming the football down. The better movie is Dirty Dancing,
unquestionably d r L.
Speaker 1: Okay, Well, everybody has a right to their own opinion.
It's just that your opinion is completely right. It is
spot on right. I do not understand why Saturday Night
Fever was the mega steamroller amazing success that it was.
I don't understand why it's Gene Sisco's favorite movie. But
here's the thing. I was born in the seventies. I
didn't experience them to any significant degree. Nothing memorable for me.
I kind of remember Disco from being a kid. But
that scene is not a part of my life. And
I don't know how anybody, even if it was a
part of their life, could get married to what went
on in that movie. I just don't get it. I
don't get It's not a character development thing. It's literally
nothing like there's no triumph, there's no change, there's no arc.
It's just like, let's go further and further down and
want nothing. I don't get with you one hundred percent.
Dirty Dancing may be supposed to be a chick flick,
but I love it. I'd watch it over and over again.
I want the hero to win sometimes, and sometimes it's
okay if they don't win. But if you got a
movie where dancing is supposed to be about feeling good,
shouldn't you have the people who watch the movie feel good.
Speaker 3: At the end.
Speaker 1: Isn't that the idea.
Speaker 2: Yeah, it seems like it.
Speaker 1: Yeah, and that is why we are both on the
same page on this one. Tune in next week. We
will cover Dirty Dancing the album, and then we will
cover Saturday Night Fever the album, and we will compare
those two and that one we may reach a different conclusion.
Speaker 2: I am telling you right now, it's a different story
with the soundtracks.
Speaker 1: Absolutely, be sure and tune in, hit that follow button,
hit that subscribe button, be sure to do the five
star rating in the review where you mentioned night Fever
or carrying Watermelons, and we will see you all next week.
Speaker 2: I'm ready. Let's do the lift right now. One, two
Speaker 3: N knock