Top 20 Most Underrated Dance Scenes in Classic Musicals
#20: “Pirate Ballet” “The Pirate” (1948)
Gene Kelly and Judy Garland really didn’t star in enough films together. But although 1948’s “The Pirate” might be one of the pair’s lesser offerings, that doesn’t make the dancing any less resplendent. You have the hysterically funny “Be a Clown” – a precursor to “Make ‘Em Laugh,” one might say. But you also have the pirate ballet. If there’s one thing Kelly is going to do, it’s choreograph and perform a magnificent dream ballet. And while this one might not be viewed as often as the others, that doesn't make it any less special. The dream ballet from “The Pirate” features Kelly as his most athletic, bounding and leaping across space. And we certainly can’t complain about those thighs.
#19: “I Like Myself” “It’s Always Fair Weather” (1955)
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We all know what a talented tapper Gene Kelly was, and tap dancing is no easy feat. But tap dancing on roller skates – that’s something else entirely. In “It’s Always Fair Weather,” Kelly’s character finds romance with the beautiful Jackie Leighton. Amazed by how his love affair has boosted his confidence, he begins to engage in an exhilarating dance number – on wheels. The way Kelly is able to seamlessly combine the smoothness of the roller skating movement with his typically jaunty tap is masterful. Wearing his signature thousand-watt smile, you just can’t take your eyes off him – or his moves.
#18: “The Ballet of the Red Shoes” “The Red Shoes” (1948)
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Though not technically a musical, the ballet sequence at the center of “The Red Shoes” is right up there with any classic musical worth its salt. The drama follows ballerina Victoria Page who is forced to pick between her career and her romance with composer Julian Craster. The ballet in question is about fifteen minutes long in movie time, but don’t let that runtime throw you off. The dance tells a full story, complete with beautiful costumes and elaborate makeup and sets. Moira Shearer, who plays Victoria, gives a stunning performance in a sequence that certainly wouldn’t make the cut in Hollywood today.
#17: Alley Dance “My Sister Eileen” (1955)
Though more widely known for his choreography and directing today, Bob Fosse also had a career in front of the camera. He appears in 1953’s “Kiss Me Kate” in a few stellar dances, but today we’re honoring this funny little diddy. In “My Sister Eileen,” Fosse plays a man named Frank who has a thing for the titular character. In one scene, he duets with another of Eileen’s love interests, played by the great Tommy Rall. The dance is unbelievably acrobatic, with each man trying to outleap and jump the other. It’s so lovely to see the way these two men not only compete, but work off each other’s athletic and dance prowess. Who do you think comes out on top?
#16: “Love, Look Away” “Flower Drum Song” (1961)
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“Flower Drum Song” is one of Rodgers and Hammerstein’s lesser-known musicals, but marks an important turning point in film history. The 1961 work is the first major Hollywood movie with a majority Asian-American cast telling their own story. Not only is it an important historical artifact, but it also features a startlingly beautiful dance sequence. In a moment of vulnerability, a character named Helen admits that she is in love with a character named Wang Ta. What follows is a hazy, dreamy dance that wonderfully projects all of Helen’s feelings through movement. Never has unrequited love looked so good.
#15: “Take Off with Us” “All That Jazz” (1979)
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If there’s one thing we know, it’s that Fosse gonna Fosse. And “Take Off with Us” from “All That Jazz” is no expectation. Bob Fosse’s brilliant, cutting autobiographical work features Roy Scheider (SHY-der) as the Fosse stand-in. In one scene, Scheider’s character shows off a new creation to his new show’s producers. “Take Off with Us” starts out normally enough – or as normal as Fosse can be. But in the second part of the dance, the lights dim and everything changes. The choreography suddenly becomes hypersexualized. No matter how you feel about the content, it’s audacious and mesmerizing. You can’t look away.
#14: “Let’s Say It with Firecrackers” “Holiday Inn” (1942)
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Fred Astaire is the king of the movie tap world. His output is so voluminous, there’s bound to be a few dances we’ve undervalued over the years. We love his drunken tap extravaganza in “The Sky’s the Limit,” but we feel that this dance from “Holiday Inn” really pops off. In one sequence, Astaire’s character Ted has to deliver an on-the-spot number with no rehearsal. He decides to shake things up a little. He keeps his usual tappin’ feet of course, but punctuates certain moves in the dance with firecrackers. The results are explosive – literally. Astaire throws down those fireworks with his signature ease, proving that he can even make pyrotechnics smooth.
#13: White House Steps “Yankee Doodle Dandy” (1942)
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Okay, we know what you’re thinking. How could “Yankee Doodle Dandy” be underrated? We all know that song! Sure - but the dance? We think that deserves just as much recognition. In the 1942 film, James Cagney dances to the famous tune as he heads down the White House steps. It’s a short dance, but it proves just how talented Cagney was – and is a perfect character moment. Cagney never misses a beat, and his jaunty joy at what’s transpired punctuates every step. He makes it look easy – as always – but making the hard stuff look easy is what makes a star.
#12: “The Red Blues” “Silk Stockings” (1957)
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When it comes to Cyd Charisse, we don’t think she ever got the level of recognition that she deserved. One of the best dancers to ever live, Charisse delivered a plethora of astounding performances during her time on the silver screen. This is one of our favorites. This dance from “Silk Stockings” is a wonderful ensemble number, but Charisse steals the show. With her unearthly long frame, every kick and spin seems to take up the entire screen. She’s smooth and deliberate and always the star – whether she’s doing a solo or a partner dance. No one was ever able to move quite like Charisse – and we don’t know if anyone ever will again.
#11: “Make ‘Em Laugh” “Singin’ in the Rain” (1952)
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If “Make ‘Em Laugh” were in any other film, it would be the greatest number in the show. And even though the classic ‘Singin’ in the Rain’ has so much to love, it still ranks pretty high. Donald O’Connor delivers the dance as an ode to popular, good old generic entertainment – but his performance is anything but generic. O’Connor has one of the lithest frames of any dancer we’ve ever seen, and he puts it to good use here. Not only is his body going to work, but he never lets his expression slip either, delivering funny face after funny face. O’Connor was just one of those performers that was always on.
#10: “Jumpin’ Jive” “Stormy Weather” (1943)
In 1943, 20th Century Fox released one of the two musicals featuring African American casts that year, “Stormy Weather.” The film features a variety of numbers, as it depicts the protagonist’s hope to become a professional dancer. Such big names like Lena Horne, Fats Waller, and this entry’s composer, Cab Calloway, appear in the film. In the “Jumpin’ Jive” number, Calloway and his orchestra provide the music for the astonishing Nicholas Brothers, as the duo tap up a storm all over the place. The number is impressive, energetic, passionate, and amazingly, was purportedly achieved in a single take. And we didn’t even mention that “splits down the stairs” sequence towards the end!
#9: “Barn Dance” “Seven Brides for Seven Brothers” (1954)
Yeah, we’re definitely not recommending this one for its absurdly awful depiction of gender roles and behavior. After all, the titular “seven brides” are kidnapped by the “seven brothers” and held in a cabin over the winter. In typical old-fashioned style, however, they all fall in love and get married in a mock-shotgun wedding. We’re focusing on the absolutely incredible dance numbers! When the brothers venture into town for a barn dance, they encounter the aforementioned brides-to-be and fall in love. However the ladies are spoken for, and a brawl ensues between the menfolk. The fight begins through dance, as the stuffy suited townsmen stiffly dance, only to have their ladies taken by the rough woodsmen brothers who dance more freely and wildly.
#8: “Shall We Dance?” “The King and I” (1956)
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Though the most known song from this classic is most likely “Getting to Know You,” there are some other gems to be enjoyed in the 1956 film. The story covers many Western and Eastern culture clash moments, as well as some romantic liaisons. The King is, of course, reluctant to accept any form of change, and makes this clear throughout, only to finally understand in the end. In the memorable number “Shall We Dance?” Anna explains to the King how Western women are courted, and the two express their inner emotions through the secretive, yet much telling, medium of dance.
#7: “Cool” “West Side Story” (1961)
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This modern retelling of “Romeo and Juliet” gives us many songs for fond memories, yet some really great sequences fly slightly under the radar. Towards the end of the film, the Jets and the Sharks are headed to the ultimate confrontation, as the two gangs wish to take each other down once and for all. The Jets are shown getting aggressively riled up, until one of their members talks everyone down to keeping their cool, and not charging in like bulls. What follows is a rapid dance number, in which the Jets redirect their anger into their moves, and it’s really… well, cool!
#6: “Kansas City” “Oklahoma!” (1955)
“Oklahoma!” depicts an old-fashioned midwestern town, complete with cowboys, ranch hands, belles and their mamas and papas. The townspeople don’t often find themselves traveling elsewhere, and when cowboy Will Parker returns from the bustling metropolis of Kansas City, the townsfolk gather to hear his tales. Will’s big city tales lead into a demonstration of the latest big city dance moves, including the two-step and ragtime, as he tries to convince his audience of the appeal of these new dances. The scene is high-energy as well as comical, and endlessly entertaining. The box social scene including the “Farmer and Cowman” barn dance comes in a close second.
#5: “Rich Man’s Frug” “Sweet Charity” (1969)
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Down on her luck, dancer-for-hire Charity Hope Valentine (what a cool name, right?) dreams of the bigtime, and getting out of her current predicament. As she moves from her current lower class workplace venue (widely known for “Hey, Big Spender” number) to attending a high-class nightclub, she witnesses the differences in culture. This is well-introduced by “The Rich Man’s Frug,” in which the nightclub guests dance with elegance and a touch of hedonism, all while maintaining that special brand of 1960s hip. With the legendary Bob Fosse at the helm, the choreography can’t go wrong.
#4: “Who’s Got the Pain?” “Damn Yankees” (1958)
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Americans love their baseball, and 1958’s “Damn Yankees” represents this pretty well. It tells the story of an ordinary man who makes a deal with the devil to lead his favorite baseball team (the perpetually losing Washington Senators) to victory. The most recognized scene is, of course, “Whatever Lola Wants.” Another impressive, yet often overlooked number is “Who’s Got the Pain?” in which fans of the Senators celebrate their impromptu road to victory. Bob Fosse and Gwen Verdon take the stage to perform a dance number reminiscent of vaudeville. It’s energetic, humourous and lots of fun. Good luck getting that tune out of your head!
#3: “Born to Hand Jive” “Grease” (1978)
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Almost every song from “Grease” is easily recognizable to anyone who’s ever been to any sort of karaoke night. However, there are still a few underrated numbers. The “Hand Jive” performed during the televised school dance is catchy as well as entertaining. There’s a lot going on in the scene, amidst the overzealous competition. Every main character gets their moment of dance, some followed by moments of drama. However, the dancing is contagious, and much like the in-film audience, it’s tempting to join in in any way possible. John Travolta’s dance with Olivia Newton-John is reminiscent of the disco days, and the exhausting energy doesn’t stop throughout the entire scene.
#2: “The Best Things Happen While You’re Dancing” “White Christmas” (1954)
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There’s just something about Christmas-themed musicals! In “White Christmas,” we see the film’s two protagonists, played by Bing Crosby and Danny Kaye, struggle to launch their production company following World War II. Their journey, of course, includes romantic interests. Though the film does contain some timeless gems such as “Choreography” and “Mandy,” sometimes the more gentle, understated numbers are best. Danny Kaye and Vera-Ellen perform “The Best Things Happen While You’re Dancing” with such elegance and grace. The song speaks of expression through dance, and how it’s much stronger than regular communication for relaying emotions, which is a constant theme in classic musicals in general. Before we unveil our top pick, here are a few honorable mentions. Dance-Off, “The Seven Little Foys” (1955) You Can’t Beat Bob Hope & James Cagney “Shakin’ the Blues Away,” “Easter Parade” (1948) Forget Shaking – Ann Miller Is Blowing Us Away “Ain’t There Anyone Here For Love?” “Gentlemen Prefer Blondes” (1953) If These Boys Don’t Love Jane Russell, We Sure Do. “I’ve Gotta Hear That Beat,” “Small Town Girl” (1953) Ann Miller Has Got Rhythm “Fascinatin’ Rhythm,” “Lady Be Good” (1941) We Can’t Take Our Eyes Off Eleanor Powell
#1: “Moses Supposes” “Singin’ in the Rain” (1952)
This classic musical is filled with iconic song and dance numbers. Alongside the grandiose nature of some of these scenes are many underrated gems. In addition to “Make ‘Em Laugh,” there’s also “Beautiful Girl.” However we went with the hilarious and tongue-twisting “Moses Supposes.” The film depicts the transition between silent films and “talkies,” and this scene has the lead actor, Gene Kelly, learning eloquent speech from a stuffy professor. Kelly and his musical buddy and partner, Donald O’Connor, make a farce of the lessons, and begin to dance and sing around the shocked professor. It’s an amazing two-man dance sequence we’ll never forget!
