THE FANS' LOVE STORY: How The Movie 'DIRTY DANCING' Captured The Hearts Of Millions! (3 page)

Thus,
Dirty Dancing
continues to go on and on. I can’t resist commenting that this independent movie was made on a shoestring budget with virtually no violence (Johnny does briefly fight Robby in one scene), no special effects, no weirdness, and yet it has remained popular for over twenty years.

What makes
Dirty Dancing
such a phenomenon? For me, I know that all I have to do to get a quick shot of “feel-good” is throw the DVD in, sit back, and be captured by the bliss
of Dirty Dancing.
Whether I have been in a great mood and wanted a “fix,” or whether I have been in a funk (like when my mother was laying in ICU, possibly going to die, about five years ago), I just had to pop in
Dirty Dancing
and could escape into a great place where there was love, integrity, and a happy ending. (I am not saying that seeing
Dirty Dancing
took away all of my stress regarding my mother’s illness, but it did serve as an anchor to hope for me.) Furthermore, watching
Dirty Dancing
is kind of like meeting up with an old friend. Mr. Swayze spoke to
The
Boston Globe
’
s
Mark Shanahan in September 2005 about his and his wife’s prized dance movie,
One Last Dance
(which they had just been to Slovakia to promote), and what he said can be applied to
Dirty Dancing
as well: “Everywhere we take this film, people want something to make them feel good. Hope is a big thing.” He was also asked why audiences respond so strongly to dance. He said, “The world loves dance. It’s our first form of worship. It’s primal. Moving to rhythm is a powerful thing that’s innate in all of us.”
⁴
Mr. Swayze has made statements throughout the years that a big component of dancing with a partner is having a soul connection through the eyes. In his portrayal of Johnny and Ms. Grey’s portrayal of Baby, the connection definitely happens, which is highlighted in one of the movie’s songs, “Hungry Eyes” (written by Franke Previte and John De Nicola, and performed by Eric Carmen). By the way, the soundtrack to the movie has sold more than 42 million copies.

To think that Mr. Swayze almost didn’t do
Dirty Dancing
!
During
the
ABC
Barbara Walters Special
Interview
in 1988, Mr. Swayze stated that he had been advised not to do the movie. However, he took the role because, “I felt something for Johnny, the guy from the streets . . . that is fighting to like himself, to believe in himself.” It seems that Mr. Swayze put his own constant quest for personal/spiritual growth into the character of Johnny. He shared with Barbara Walters that he had backed off accepting “teenage idol” movie roles after
Skatetown USA
so that he could become a more accomplished actor. He said, “I was willing to bank on that with enough study and growth, and enough connection with myself and the truth in me, that I could become an actor to be reckoned with.” Barbara Walters asked why do so many women watch the movie so many times. In response, he spoke about how the relationship between the two main characters was based on what is inside: “Everybody dreams that somebody would see into their lonely world . . . that would see past the exterior and see what they’re really like . . . somebody sees through that and cares about them as a person . . . a relationship not because of how somebody swings their rear but because of what’s inside . . .”
⁵

Mr. Swayze has indicated throughout the years that key
to Dirty Dancing
is how Johnny and Baby connect with their hearts and souls, which is reflected in the movie’s smash hit, “She’s Like The Wind” (written by Mr. Swayze and Mr. Widelitz, and performed by Mr. Swayze, featuring Wendy Fraser). The song was #3 on
Billboard
Hot 100 and #1 on Adult Contemporary. In 1989, “She’s Like The Wind” won at the BMI Film & TV Awards for “most performed song from a film.” In April 2009, BMI (Broadcast Music, Inc.) reported that “She’s Like The Wind” had officially charted its four millionth public performance. It is widely thought that Mr. Swayze was inspired by his wife in the writing of this hit song.

Per a June 5, 2006
Whatsonstage.com
interview conducted by Terri Paddock in London, England—“Photos: Swayze & Sweeney Ready to Play in Dolls”—Mr. Swayze talked about the continuing popularity of the movie
Dirty Dancing.
“He (Mr. Swayze) attributes the success of ‘the movie that wouldn’t die’ to the passion, and lack of ego, behind the original project . . . Mr. Swayze’s words: ‘When something works, it’s really about heart.’”6 Key
Dirty Dancing
people have indicated that Mr. Emile Ardolino’s role as director was an important reason why
Dirty Dancing
worked so well—including his storytelling ability—especially by using dancing and humanness to make a film that touches the heart. Mr. Swayze has indicated in multiple media sources that Jennifer’s Grey portrayal of Baby was totally amazing and really paramount to the movie.

Many of the principal people involved in creating/acting in
Dirty Dancing
have made statements to various media sources that they really enjoyed and appreciated the collaborative experience of making this movie. In a September 2, 2008 interview by
FemaleFirst.co.uk
, “Miranda Garrison talks Dirty Dancing,” Ms. Garrison was asked if she had fond memories of making
Dirty Dancing
. She replied, “My memories of making this film are fantastic. I honestly ‘had the time of my life!’ . . . We original ‘Dirty Dance People’ contributed so much of our personal life stories to this film. This ‘collective’ storytelling has become an enormous validation of our youth and artistic philosophy.”
⁷
Of course, “(I’ve Had) The Time of My Life” (written by Frank Previte, Donald Markowitz, and John DeNicola and performed by Bill Medley and Jennifer Warnes) won an Oscar, a Grammy, and a Golden Globe in 1988.

Referencing the above-mentioned interview of Miranda Garrison, while responding to the question—did she know that the lift scene she choreographed would become such an iconic scene, Ms. Garrison’s words give us additional insight into the collaborative nature of the filmmakers and why the movie is so successful. Ms. Garrison answered, “To set the record straight, Kenny Ortega, myself and likely Patrick Swayze presented many ‘lifts’ to the director Emile Ardolino and writer Elinor Bergstein. Emile and Elinor wanted a through-line metaphor for the ultimate triumph of both Baby and Johnny. Once this lift was found we all knew its narrative power. I am not surprised as much as pleased when ‘story’ as the root of dance is proved so effective.”
⁷
A reviewer (unable to find the name of the reviewer) wrote that the collaboration of the extremely talented artists on the movie: “shows you the possibilities of music, dance, love and the movies are endless, and it leaves you in a dream state, contemplating the beauty not only of the film’s artistry, but of the human talent and drive that enabled it.”

In closing, I think that what Mr. Swayze told the
Telegraph.co.uk
in 2006 (“Patrick Swayze on ‘Dirty Dancing’”) about why
Dirty Dancing
has been so successful is really the bottom line: “It has been so successful because basically it’s about love, and how the power of love can redeem us all.”
⁸

The story of
Dirty Dancing
takes place in the Catskills in 1963. The Catskills is a resort area less than two hours from New York City. The resort area has been affectionately nicknamed the “Borscht Belt” as in its heyday, there were more than 500 resorts open where many Jewish families vacationed and many Jewish entertainers performed—including Ms. Jennifer Grey’s grandfather, Mr. Mickey Katz. The vacationing region turned into a cultural entity that became a very special and unique way of life. Also, many prominent people visited and performed at the resorts.

Initially, the Catskills resort area began as farms taking in guests and gradually developed into various vacation settings until it reached the above-mentioned 500 resorts (in an area of about 250 square miles) where reportedly for most of the 1990s, between a half million and one million Jewish people spent some summer vacation time there. Grossinger’s and The Concord were two of the most prominent resorts in the Catskills. At the present time, there are only about twelve resorts still open.

Please enjoy the following two interviews in which Ms. Jackie Horner and Mr. Steve Schwartz share their experiences in the Catskills—particularly about their time at Grossinger’s. You may be surprised to learn the impact of their experiences on the creation of
Dirty Dancing
. Let us remember also that Ms. Eleanor Bergstein spent time vacationing in the Catskills with her family as a teenager.

June 30, 2009, July 13, 2009 (written/letter interviews).

July 19, 2009 (telephone).

June 30, 2009—Letter from Ms. Jackie Horner.

Dear Sue,

Thank you for your call. I happen to live directly across the street from the famous Grossinger’s Hotel where all the DD took place. Unfortunately, “they” wanted to film it there. However, the hotel was sold in 1986. I spent the summer of 1985 telling Eleanor Bergstein my story—going through photos of that era, clothing, and hair styles. The ’60s was quite an era. I worked as the dance pro at Grossinger’s from 1954 to 1986—then all the other hotels that were open. Now most are sold or closed.

I have my own studio in Liberty—lots of Ballroom, Salsa, Cha-cha, etc.

July 2009—Written interview.

Liberty, New York

I will try to answer your questions in order as written—plus.

Please tell me about the incidents of you carrying the watermelon.

Well, in the movie we had “Baby” (Jennifer Grey) carry the watermelon . . . however, it was me—the staff of waiters, waitresses, bellhops, maids etc. would have their parties to unwind. But the dance staff was considered upper crust—above them. We ate with the guests, used the outdoor pool where my upstairs dance studio was in the summer, sat in their cabanas. We taught and danced with them all day. Other staff couldn’t even walk through the lobbies or bar areas—let alone the outdoor pool. So for us to crash their “fun time,” we took offerings. So I would go to the kitchen and get a big watermelon and we would cut it up, “plug it,” and pour vodka in the opening. Finally, after two or three times stealing it [watermelon] the chef put it out on a kitchen ledge for me with a note—“Have fun! It’s our secret!”

I’m sure other hotels had their staff fun times and stories likewise—but I can only tell it like it happened with our staff of dancers . . . [And there was] so much more that wasn’t even in the movie—story after story can be told.

Why do you think
Dirty Dancing
has remained so popular?

I think it has remained popular or even more so than when it opened because it’s so bittersweet, and honest and true.

Then Ms. Horner proceeded to write me about other anecdotes and other information.

I just did a lecture on it and “outtakes of my own.” Shelly Winters, bless her heart, was a dear friend and a Grossinger guest so often. One day she said, “Jackie, you are going to get hurt practicing your ‘lifts’ on these hard wood stages. Why don’t you come down to the lake with me on Sunday and practice your dance lifts in the lake?” So I wrote that down, and it’s a scene in the film.

Likewise, Eddie Fisher had a manager named Milton Blackstone, and one night in our Grossinger lounge, he spoke to me about my pupils—told me they were dancing too close. I said, “Milton they’re doing a ‘tango,’ it’s a close dance.” “No,” he said, “They’re Dancing Dirty.” Ahem, I wrote it down. This was all told to Eleanor and was put in the film and then some.

The strangest thing—just as I started this letter, out of the blue, my partner Steve Schwartz called. I just now hung up. He’s the “Johnny” (Patrick Swayze). Weird—hadn’t heard from him in months. He was blamed for everything and will be up to see us in early August. We’ve been on the phone for thirty minutes. He went by the name “Steve Sands”—still adorable at 72. You might want to interview him. He’s in N.Y. City but travels back and forth to Florida.

Eleanor had hopes of filming it at Grossinger’s but the hotel was sold in 1986 . . . But she said that I “breathed energy and life into the film and it came alive.” Lots of ups and downs in the filming—wasn’t easy! But now she has the musical all over the world—Australia, London, Germany, Spain, Toronto, Chicago, California casts.

Well, 1963 was the last summer Grossinger’s had their staff show. It wasn’t exactly a talent show. We had someone do an entire script and scenes—very little singing, acting . . . and I choreographed the dances for the hotel staff that cared to be in the show. We did it for the Labor Day weekend guests.

Funny, I was teaching the little couple that was stealing, and my partner was blamed for all that too. (
Jackie told me that she saw them stealing money and reported them, and of course she didn’t get paid for sixteen lessons that she had taught them.
)

And I have a photo with Van Johnson who was here on a 1963 summer weekend. What a dear person, and of course loved to dance. All the “greats” in every field and walk of life graced the portals of Grossinger’s.