In an effort to watch more of trailblazing female director Dorothy Arzner’s work, I decided to check out the Lucille Ball-Maureen O’Hara showbiz farce Dance, Girl, Dance (Disc/Download). In this movie, there really is no star or stooge; only women trying to use whatever gifts they possess to get ahead in the cutthroat business of entertainment.
Even before the world fell in love with Lucy, Lucille Ball was already well on her way toward being the queen of physical comedy. As burlesque dancer Bubbles (later, Tiger Lily White), she uses her body to simultaneously turn men on and make them laugh. She has something special the other girls in her troupe don’t have, and whether you think her “oomph” should be overly valued or not is irrelevant. Society (read: men) have decided to place a high price on what Bubbles has. Even though Maureen O’Hara’s character Judy is technically more skilled, her skills don’t matter in this world where sex appeal is the currency. The same analogy could be made for all sorts of art forms (literary vs. commercial fiction, prestige drama vs. lowbrow comedy), and that’s how the movie stays relevant today. Creators either have “oomph” or they don’t, and if they don’t, they must carve out a niche where success comes from within, instead of from external validation. As someone who lacks “oomph”, I’ve learned this lesson the hard way.
A prime example of the difference between Ball and O’Hara’s characters occurs during the infamous hula scene. Their dance troupe is auditioning a for a New Jersey nightclub, and let’s just say the two women have very different interpretations of “hula”. The scene makes me want a Tiki beverage, but I can’t ignore the champagne cocktails imbibed throughout the rest of the movie. Let’s combine the two with this Tiny Bubbles cocktail!
Tiny Bubbles
1 sugar cube
6-7 drops Tiki bitters
5-6 oz champagne
Place a sugar cube in a coupe glass and soak with Tiki bitters. Top with Champagne.
Maureen O’Hara has a great scene at the end where she finally gets fed up with a dance gig that isn’t bringing her an ounce of joy, and she tells off the leering men shouting during her performance. It’s a rare thing for a film of this time to call out misogyny and sexism, and I have to think this was Arzner’s influence. Surely this was the speech she wished she could give in person to studio heads and general audiences. Lucky for us, she put it on film so generations of women could sit back and applaud. Cheers!






















