How old is baby supposed to be in the movie dirty dancing
Baby Comes of Age in Dirty Dancing
Special Features Baby Comes of Age in Dirty Dancing Girl meets boy, dances with boy and gets boy in Dirty Dancing, the wildly popular '80s flick that is now a stage musical.
By Sheryl Flatow
December 19, 2008Georgina Rich and Josef Brown in London's Dirty Dancing Photo by David Scheinmann
If the lines "I carried a watermelon" and "Nobody puts Baby in a corner" are as familiar to you as your name, it's a good bet that you're passionate about the 1987 movie Dirty Dancing. Its fans are legion. Dirty Dancing was the first movie to sell a million copies on video. A 2007 poll taken in Great Britain found that it was the most-watched film by women, and it's a good bet that if a poll were taken in this country, the results would be similar. So the idea of adapting this beloved movie for the theatre probably seems to be a no-brainer.
But Eleanor Bergstein, the screenwriter, co-producer and driving force behind the film, resisted bringing the piece to the stage for almost 20 years. "Six months after the movie opened, I had all kinds of offers," she says. "But I had no desire to slap a movie onstage. We have such open-hearted people who watch the movie over and over again, and I never wanted to seem to be taking advantage of them. I also thought that turning it into a piece of regular musical theatre would be totally wrong and unnecessary. So I just said no for years."
She began to change her mind when she learned what happened when local television stations ran the movie in a loop — meaning they'd run it continuously, all day. Marketing surveys found that people watched the movie again and again. For Bergstein, that was an epiphany. "Even if they had the video at home, they watched," she says. "It seemed to me that what they really wanted to do was to step through the flat screen and experience the kinetic sense of being there. And I realized you can get that with live theatre."
Which is why Dirty Dancing is now touring the country prior to an anticipated Broadway engagement. The show is already an international hit. It originated in Australia in 2004 and has had, or continues to have, successful runs in London, Toronto, Holland and Germany. For anyone unfamiliar with the movie, Dirty Dancing is the coming-of-age tale of 17-year-old Frances "Baby" Houseman, the brainy, idealistic daughter of a doctor. It's the summer of 1963, and Baby and her family are vacationing at a resort in the Catskills. She becomes infatuated with the streetwise, blue-collar dance instructor, Johnny Castle, much to her father's disapproval. Despite the obstacles, Johnny teaches her to "dirty dance," they fall in love and change each other's lives.
|Eleanor Bergstein |
"Everything that's in the film is in the show, but there are 25 new scenes, loads of new songs, and a lot more dancing," says Bergstein. Most of the music is performed live, but the show also uses "a few iconic scratchy records." Baby and Johnny do not sing at all. "There's a lot of singing, but no one suddenly bursts into song," says Bergstein. "Even though I love musical theatre, I knew that was not the way to do this. Every line of dialogue is written against a phrase of music or a line of lyric. But the music is used as it is in real life. A band plays. People jam. You hum in somebody's ear when you're dancing. Someone sings at a party, and everyone joins in."
The same is true of Kate Champion's choreography. "Kate believes in the choreography of everyday life, that every movement has a meaning. We have no unison dancing. Everyone has their own individual movements that connect them to the physical world. The choreography is very beautiful, but we wanted everyone watching to feel that if their heart were high enough, they could be doing the dancing."
Dance has always been integral to Bergstein's life, and Dirty Dancing is inspired by her own experiences. Bergstein was called Baby until she was 22, she has a sister named Fran, and her father was a doctor. Baby Houseman plans to join the Peace Corps. Baby Bergstein "wanted to change the world, but in a matched sweater set." The family lived in Brooklyn and summered in the Catskills. "My parents hit the golf course and I went to the dance studio," she says. "I was a teenage mambo queen. But I was also the dirty dancing queen. I grew up in a very rough neighborhood and spent my time in basements, where we dirty danced — it was street dancing to rhythm-and-blues music. I have trophies that would turn your hands green. Later I was an Arthur Murray teacher. There's really a lot of Johnny in me, as much as Baby."
The screen family, like the Bergsteins, are Jewish, left-wing liberals, and the piece was very deliberately set in 1963. "It was a time when people believed that they could put out their hands and make the world better," says Bergstein. "It was the summer of Martin Luther King's 'I Have a Dream' speech. There was a kind of grace about that time. And that was the last summer. A few months later, J.F.K. was assassinated, and it was all over. After that, it was radical action every place."
Bergstein says that over the years, she has thought about why the movie — and now the show — has earned such ardent devotion. "My feeling right now is that everyone has a secret dancer inside them," she says, "and the show is about how dancing can connect you to the world."
How Old Baby & Johnny Are In Dirty Dancing
By Quinn Hough
Dirty Dancing features an iconic pairing in Patrick Swayze's Johnny and Jennifer Grey's Baby, but their characters are far from the same age.
Dirty Dancing features an iconic pairing in Patrick Swayze and Jennifer Grey, but how old is Jennifer Grey, how big is their age gap, and does it make the movie problematic? Dirty Dancing is somewhat autobiographical for screenwriter Eleanor Bergstein, as it's based on her own teenage experiences. This fact only brings the question of Baby and Johnny's age difference further into the light. While the movie doesn't explicitly state the two protagonists' ages, there's enough evidence to suggest that the years between them borders on creepy.
Johnny and Baby's ages in Dirty Dancing (of which Patrick Swayze hates the best line) come into question simply by looking at Patrick Swayze and Jennifer Gray. The two don't even look like they're in the same age group, and the movie takes no strides to explain any part of it. While this could be a product of the time it was made, Dirty Dancing might not hold up well under today's magnifying glass in terms of its more problematic areas. So, how old is Jennifer Grey? Here's exactly how old Baby and Johnny are in Dirty Dancing, and whether their age is far too wide.
Related: All HBO Max Original Shows & Movies Releasing In 2022
How Old Are Baby And Johnny
How old is Jennifer Grey? Well, clues in Dirty Dancing place Johnny's age at 25 years old and Baby’s age at 17. At the beginning of Dirty Dancing on HBO, Baby's narration references the "summer of '63." Early dialogue reveals that she's planning to attend Mount Holyoke (an all-female private college in Massachusetts) to study the economics of underdeveloped countries. In the politically charged Dirty Dancing, Baby also states that she plans to join the Peace Corps shortly before laying eyes on Johnny for the first time. Some reports have suggested that Baby is supposed to be 18 or even 19 years old. However, based on iMDB's trivia notes and a 2017 interview with Grey (via Closer Weekly), it seems that Baby was presumably born in 1946 and is supposed to be 17 years old. The character doesn't actually reveal her age in Dirty Dancing, nor does Johnny ask on-camera. If Baby is indeed a minor, that would explain her father's confrontational attitude toward Mr. Castle throughout most of the film.
In Dirty Dancing, Johnny's 1938 birthdate makes him 25 years old. The character initially questions why Baby gained access to a private dancing area, but then invites her to boogie and subsequently teaches her some moves. Johnny and Baby/Frances slowly become friends while dealing with Penny's medical procedures (Jake Houseman provides the appropriate assistance), and they eventually become romantic partners. Dirty Dancing on HBO never addresses the eight-year age difference between the two characters, which makes the film somewhat controversial – both then and now – because Baby is indeed a minor. In 1963 America, though, it wasn't uncommon for men and women to commit at a young age. The focal Dirty Dancing relationship may not be appropriate, but the age gap isn't enough to make Baby's father concerned during the climactic performance. In fact, Jake Houseman essentially apologizes to Johnny.
How Old Were Patrick Swayze And Jennifer Grey During Dirty Dancing?
The late Swayze was approximately seven years older than Grey in real life. When Dirty Dancing premiered at the Cannes Film Festival in May 1987, Roadhouse star Patrick Swayze was 34 years old and was best known for portraying Darrel "Darry" Curtis in The Outsiders and Jed Eckert in Red Dawn. As for Grey, she had just turned 27 and had previously portrayed Jeanie Bueller in Ferris Bueller's Day Off. She also appeared alongside Swayze in Red Dawn as Toni Mason. In 2010, Grey won Dancing with the Stars season 11, just over a year after her Dirty Dancing co-star, Swayze, passed away at age 57 from pancreatic cancer.
Johnny And Baby’s Age Gap In Dirty Dancing Is Questionable At Best
Johnny and Baby's ages in Dirty Dancing are certainly problematic. And worse still, if she was 17 years old, and he was 25, then New York state law would deem nothing wrong with their relationship. This is a problem, as the age gap is discomforting to think about, technically legal, and would definitely raise concerned discussions were a movie to feature it today. Despite this, age gaps like in Patrick Swayze's Dirty Dancing are unfortunately too common. Movies like Licorice Pizza can get away with extensive lovers' age differences, and people seem to be forgiving of its inclusion. After all, Dirty Dancing is still a beloved and critically acclaimed movie when it comes down to it. The film is so prolific that it got a (pretty terrible) TV remake in 2017. Dirty Dancing remains popular, but when put up to today's standards, the age gap between Johnny and Baby wouldn't fly unquestioned were a script to include it today.
Related: Why Road House Is Patrick Swayze's Most Misunderstood Movie
Dirty Dancing's Problematic Age Gap Isn't Alone
While the age gap in Dirty Dancing is certainly creepy, it's not the only movie to feature a problematic age gap between the two leads. Whether it's the ages of the actors themselves or the characters they play, Hollywood has pumped out plenty of iconic films that showcase uncomfortable age differences between romantic partners. Take, for example, any Woody Allen film. The romance between Colin Firth and Emma Stone in Allen's 2014 rom-com Magic in the Moonlight is a more modern example. The age gap between the two actors is 28 years, with Firth being 53 at the time and Stone being 25. While legal, the knowledge Firth was 28 when Stone was born made many viewers uncomfortable.
A more overt example of narrative enabling uncomfortable, and also illegal, age gaps is 90s classic American Beauty. American Beauty shows a 42-year-old Lester Burnham (Kevin Spacey, then 39) falling in love with his teenage daughter's 16-year-old friend Angela (Mena Suvari, then 19). The 1980 Martin Scorsese drama Raging Bull shows an adult Robert de Niro fall for a 15-year-old character played by a 17-year-old actress. Finally, Entrapment, starring Catherine Zeta-Jones and Sean Connery, showed sparks fly between the two characters, but did nothing to explain Sean Connery and Zeta-Jones' nearly 40-year age gap. The age difference in Dirty Dancing may be problematic, but it doesn't exist in a vacuum. In the end, the movie isn't alone in its depiction, and it's far from the worst offender.
Next: What Happened To Dirty Dancing's Jennifer Grey
"Dirty Dancing" - a masterpiece of feminism
"Dirty Dancing" - one of the main movie hits of the 1980s, a rare film that was ahead of its time and absolutely not outdated even now. To the news about the continuation of the cult film, we explain why it is impossible.
Dirty Dancing is one of the most unexpected film successes of the 1980s. No one expected good things from a film with a budget of 6 million and a filming period of a rapid three months: the bosses of the Vestron Pictures studio, after looking at the footage, at first offered to burn it right away in order to recoup at least some insurance costs, and then insisted that the film should not dishonor the studio and went directly to the video store. And yet, it came out and in a few weeks grew into a giant hit: there was even a movement of viewers (to be fair, female viewers) who watched the film in cinemas a hundred times.
Those who attribute the film's success to erotic overtones have obviously never seen it - "dirty" in the context of these dances just means "wild", and in the only remotely erotic scene, the viewer is shown a Chinese red paper lamp. The film was not about dirt at all, and not even completely about dancing. He beckoned the viewer with a freedom that could not be repeated either before or later: that every girl can choose her fate and her sexuality for herself. And if you are seventeen years old and you really want to fuck this handsome instructor, then nothing should stop you. This freedom of Dirty Dancing was ignored yesterday, it is often turned a blind eye today, but this is the main thing in the film and not at all the secret reason for its incredible success.
The story of Dirty Dancing begins with screenwriter Eleanor Bergstein and producer Linda Gottlieb having a dinner together. “I have a good idea for a film,” Bergstein said. “It is based on my life. True, there will be a lot of mamba dancing in it. “Tell me about your life,” Gottlieb asked. Bergstein said: In the 1960s, America, tickets to Europe still cost a little less than planes, and wealthy Jewish families went on vacation to the boarding houses of the so-called Borscht Belt, nicknamed so for its exclusively Jewish population - in Catskill, a mountain range in the Appalachian belt, where, according to Washington Irving, according to legend, Rip van Winkle fell asleep for 20 years. It was here that the entertainment hotels were living their last days, where the rich from Brooklyn settled into expensive - very expensive - bungalows, and they were entertained nightly with dancers, magicians, comedians, musicians and artists. For many of these artists, performing on the "borscht stage" was the first step to a real career - for example, Woody Allen, Lenny Bruce and Jerry Lewis started here. But for decent Jewish girls, the hotels of the Borscht Belt were the only territory of freedom - many of them came here to part with their bored virginity or at least to dance passionately. So it was with Eleanor Bergstein, the daughter of a doctor whose family spent all summer at the Grossinger Hotel in Catskill. Here Eleanor learned to dance the mamba - so much so that she won several competitions - and secretly had an affair with the teacher. The film that Gottlieb and Bergstein came up with that evening was to be called I Was the Teenage Mamba Queen. We were lucky that in the end they decided to turn it into something more interesting: not just by chance, but into a fairy tale.
The main character of the film, seventeen-year-old Frances Houseman, nicknamed Baby, "baby", comes with her parents and her stupid older sister to relax for a week and immediately falls for the local dance instructor, a young boorish Irishman Johnny. While her parents watch performances and cut into bridge, she eats through the eyes of Johnny dancing with older women rich enough to let a fur coat casually fall from her shoulder to the floor. But then Baby gets a chance to prove herself - Johnny's dancing partner, Penny, flew into the air from one of the waiters who work part-time in a boarding house between studies at Yale. When Baby tries to withdraw money from the waiter for an abortion, he slips Ayn Rand's "Source" to her, saying that all means are good in achieving greatness. And, having borrowed money from dad "for a good cause", Baby goes to learn mamba from Johnny to perform on stage with him while Penny lies under the knife of a passing doctor. After the dance, and after having to once again call on dad to help the dying Penny, Baby will come to Johnny's room and make him dance with her again - her hand will stop on his ass as an unambiguous announcement of intent. It won't break for a long time.
This is a woman's story, and not at all in the sense of the excessive romanticization that is usually considered feminine, although the kisses here are really tender. This is the story of a woman who herself wanted, chose, seduced, without limiting her sexual desires in any way. She, we recall, is 17, and she is a virgin. She not only chooses herself with whom and how she will lose this virginity, she also saves her chosen one twice, if not three times. The first time is when she dances with him instead of Penny. In the second, when she admits to the whole boarding house that she spent the night with him in order to clear charges of theft from him. And most importantly, when he convinces him that he is not just a boy to please customers, but an adult independent person. Unlike all romantic stories, which, as they say in large studios, women like, the woman here not only does not have a commercial relationship with a man, but also saves him from these commodity relations. It is for this rescue that she gets her name: if at the beginning of the film she was a Baby girl who was going to Harvard to learn how to help starving children in third countries, then at the end she becomes Francis (“in honor of the first woman in the office”), who proved to everyone and daddy, that she is no longer a baby.
Daddy there, by the way, is practically a metaphor for relations with society. At the beginning of the film, Frances says that she came to the boarding house without imagining that there is a man in the world equal to her father - so for her this is a story of getting rid of parental influence. And poor Johnny, who is very burdened by his social status and poverty and is ready to make a coherent speech only about her, literally raves about Dr. Houseman, he wants so much that he notices him and considers him his equal: he goes to talk with dad, tells the girl in bed, that he saw at night how her dad hugged him by the shoulder. In the finale, it was proved to dad, and this is perhaps the most important thing, because it is obvious to everyone that the love of heroes is one-time, like summer, time of my life happens only once in a lifetime and does not stretch for a lifetime. It is important to prove that you have a right to it.
So Dirty Dancing is also about acceptance. When in the finale Johnny comes to the most boring of parties and pulls Francis on stage with the phrase "Nobody puts Baby in the corner" (Nobody puts Baby in the corner), which later became iconic (however, in this film everything is iconic), this is also about the soft power of women and other empowerment: she changed him, he supported her, also in the air, so much so that she didn’t crash. Unlike many who later tried to repeat this scene of support in the air, how many of them ended up trying in the emergency room.
Another thing is that, discharging its feminist clip completely, the film does not solve the social conflict at its core. It is obvious to everyone that Johnny will continue to be a poor Irishman, and Baby, having enjoyed his embrace, will go to lead a rich life in the Ivy League. In numerous interviews, the screenwriter said that she specifically chose the summer of 1963, the last summer of liberalism - Martin Luther King had already said his famous speech, Kennedy had not yet been killed. Soon there will be Beatles, hippies, protests, changes that our hearts did not demand. Patrick Swayze, in a late interview, said a completely amazing thing: that for a long time he resisted saying the phrase about Baby and the corner, argued with the producers, and only when he grew up did he understand what it really means: Johnny continues to serve. Only earlier he served rich aunts for money, and now young maidens for human relations. If you think about it, that's the way most worldly philanthropy works.
It is much more offensive that of all the revolutionary ideas of Dirty Dancing, only the sexual “folk” dance invented by the choreographers, hip to hip, migrated to the people. However, the last dance of Frances and Johnny is still customarily repeated as the first dance of the newlyweds, and the song they dance to, written specifically for the film, (I've Had) The Time of My Life has become one of the three most popular in America funeral songs. We can say that the film is behind the times in only one thing: among the many couples on the dance floor, only one is racial and not a single same-sex. Or almost none: pay attention to how in the finale two respectable Jewish old women start dancing with each other and how people around are scandalized by this.
In "Dirty Dancing", of course, everything is a bit from the realm of fantasy, both love and dance. So, Patrick Swayze insisted on doing all the stunts on his own - and as a result, he fell from the very log on which he so easily balanced in the frame, and injured the very knee, due to the injury of which he had ten years before I had to leave my dancing career. And repeating the famous support in the final is completely dangerous for health. It is no less dangerous to repeat the actions of heroes: I would not advise an underage Jewish girl to try to explain to her doctor father that she does not want to go to Harvard, but wants to sleep with a poor Irish dance instructor. A modern person can have only one reaction to this: is this even legal? No insipid partisan feminism of films of recent years can replicate the success of Dirty Dancing, because it requires acknowledging too many living human feelings - attraction, desire, pride.
One of the main myths of Dirty Dancing is that the actors really couldn't stand each other. Their dislike was obviously overblown: if it were so obvious, we would not have, for example, the famous scene where the characters crawl towards each other on the floor to the song Love is Strange Micky & Sylvia, one of several in the film shot without scenario, when the camera was rolling during the warm-up of the actors. In his autobiography, The Time of My Life, Swayze walked over Gray without malice, saying that she giggled a lot and sometimes fell into a stupid mood, because of which the scenes had to be re-shot several times. One of these giggles turned into another canon scene of the film - the director decided to include failed takes in the editing, where Jennifer cannot help laughing when Patrick runs his hand over her armpit. After Patrick's death, Jennifer Gray told The Hollywood Reporter: "He smelled so good, he had such soft skin, he was so strong, so caring." It looks more like a hidden love than an obvious hatred.
But life, unfortunately, does not look like a feminist fairy tale. It rarely happens in it that a weak girl falls for a guy and drags him into her life by the ass with an unwavering hand. And it often happens that a young actress with a bright Jewish appearance does a nose job to adjust to Hollywood standards - and flies out of the film industry with a whistle, because no one needs her like that, with an ordinary nose - and the actor at this time with rides horses with his wife and earns millions on his Texas ranch. Both actors were not too lucky with their careers: Swayze was slowly forgotten after "Ghost", Gray was immediately forgotten after rhinoplasty. Both made an attempt to return to the 2000s - she participated in "Dancing with the Stars", he played his last, truly great role in the TV series "The Beast", filming 12 hours a day, despite the wild pains from an aggressive form of cancer, and almost literally died under the spotlight.
All his life, Patrick Swayze refused to take part in the remake of Dirty Dancing, no matter how much money he was offered for them. He believed that it was impossible to repeat their success, just as it was impossible to revive the chemical attraction between the characters. For a fee of four million dollars, he starred in the film Dirty Dancing 2: Havana Nights, playing a cameo role as a dance teacher, and clearly showed how he sees the fate of the dancer Johnny: a lonely dancer in a foreign land. Announced in 2020, plans for a sequel in which Jennifer Gray will co-star and produce are not needed for anything other than a last-ditch attempt to save her career.
But, for God's sake, don't improve and modernize Dirty Dancing. It is impossible to shoot anything more modern than them today - even in TV shows they are afraid to talk openly about abortion, show female sexual desire, give teenage girls the right to have sex with whom and how they want, so clearly expose the social system or demonstrate how rich mature women buy themselves for money young male flesh. Show us honestly at least a small part of this - and you have already made a revolution. Revisiting "Dirty Dancing" today, you clearly realize that the time has become not less, but more puritanical, and that much less can be said on the screen today. It is impossible to repeat them, but, thank God, you can revise as much as you like.
Alcohol problems and cancer: what killed Dirty Dancing star Patrick Swayze
News Castle in Dirty Dancing. In the late 90s, luck turned away from the artist: after a couple of box office films, his popularity faded.
August 18, 2019 10:0011 110
Patrick Swayze needed no special training when he was offered the role of Johnny in the cult film of the late 80s - he studied at two ballet schools and saw himself as a Broadway star, not Hollywood. But a serious injury, received as a teenager, made Patrick forget about his career as a dancer and retrain as an actor.
"Dirty Dancing" and "Ghost" made the artist in demand in the world of show business. However, the euphoria was short-lived: Patrick Swayze failed to repeat the success of films that are still talked about as a phenomenon of mass culture. Even a faithful wife did not save the actor from despair - Patrick's family life was overshadowed by depression, binges and nervous breakdowns.
The artist's main trouble was not alcohol addiction, but a late-discovered oncological disease. He died 10 years ago, leaving fans with a lot of questions. Today Patrick Swayze could have turned 67. On the actor's birthday, let's remember his journey from worldwide recognition to a tragic ending.
PASSION FOR BALLET
Patrick Swayze's acting career began with a role in Skatetown
Patrick Wayne Swayze was born in Houston, Texas. He grew up in a large family with two sisters and two brothers, so he realized early on a simple truth: if you want to succeed, try your best. The love of dancing helped the teenager stand out from the crowd. His mother owned her own ballet school and was not opposed to her son doing choreography. Patrick's classmates had a different opinion on this matter, teasing him for his "girlish" hobbies.
A talented child studied well and won sports competitions, but because of his gentle nature he could not stand up for himself. As a result, his mother gave him to the martial arts section, which significantly increased the authority of the teenager on the street. In addition, Patrick played football and starred in episodes of TV shows.
“I remember five boys beat up Patrick. He went to the trainer and agreed to fight them in turn in the gym. As a result, he defeated them all, ”said Swayze’s mother.
Patrick Swayze acted in the film "North and South"
He graduated from two ballet schools and went to conquer New York. The musical "Brilliantine" on Broadway made the talented young man a local star, but his dreams of professional dancing were not destined to come true: a long-standing knee injury made itself felt. The audience did not suspect what wild pain Swayze endured during performances, not refusing to go on stage for fear of being forgotten by the public. Soon, Patrick needed an urgent operation on his leg, after which the surgeon regretfully announced that he would have to put an end to his career.
The artist was in despair, believing that he could do nothing but dance. Once again, the young man was supported by his mother, reminding him that as a child he was invited to play in the series. After listening to the advice of a parent, Swayze began taking acting lessons. His debut film work was the role in Skatetown, and the first major success of American critics was his participation in Francis Ford Coppola's film The Outcasts.
This was followed by the pictures "Red Dawn" and "North and South", but Patrick Swayze became a cult figure in Hollywood thanks to the film, which allowed him to return to his favorite thing - dancing.
NOBODY WILL PUT BABY IN THE CORNER
Who would have thought that a low-budget drama about two dancers from different social classes would become one of the highest-grossing films at the box office? A big role was played not only by the successful choice of actors - the duet of Patrick Swayze and Jennifer Gray won the hearts of the audience - but also by the brilliant idea of the screenwriter and producer Eleanor Bergsteen. She wrote a story about herself: the youngest daughter of a doctor often went to the Catskills camp, where she secretly participated in dirty dancing competitions. Friends called her Baby, and Bergsteen later gave this nickname to the main character of the film.
Elinor made changes to the script for seven whole years - the directors refused to film the story with erotic overtones. However, in 1987, the producer got her way. The soundtrack to the film received an Oscar, and Patrick Swayze and Jennifer Gray were nominated for a Golden Globe. By the way, if on the screen the poor dancer Johnny Castle and the girl from the wealthy Baby family sympathized with each other, the actors had a hard time behind the scenes: hostility arose between them, and Patrick believed that the ending of the picture should be changed.
“I always felt that Johnny should end up with dancer Penny, because they are from the same circle, and such a union is more realistic than Johnny and Baby,” Swayze assured.
On the screen, the actors played passion, but in real life they hated each other
The creators of the tape did not fail: the audience was delighted not only with the multifaceted history of the main characters and bright musical numbers, but also with the deep ideas that Eleanor Bergsteen tried to put into the script . So, the final phrase “No one will push Baby into a corner” hints at the struggle of women for equality. It is also symbolic that at the end of the picture, Jennifer's character manages to perform a difficult dance element, support, which she had previously failed to do because of the fear of trusting her partner.
After the success of Dirty Dancing, directors literally begged Patrick Swayze to play in their projects. Every year a film was released with the participation of the artist: "Steel Dawn", "Road House". The next breakthrough for the actor was the role in "Ghost" with Demi Moore. The highest-grossing film of 1990 received five Oscar nominations.
The romantic story "Ghost" cemented the actor's success in Hollywood
"Patrick had to work hard to be taken seriously in Hollywood. There was something very rough about him, but at the same time - a beautiful, gentle, sensual manner of playing, ”Moore said about a colleague in the documentary“ I am Patrick Swayze ”.
It was participation in the "Ghost" that secured Swayze's star status. In 1991, Patrick's filmography was replenished with the film "Point Break", where his partner was Keanu Reeves. After this tape, Patrick Swayze's popularity gradually began to decline, although he continued to be offered work in the cinema. For many fans, the artist remained Johnny Castle, and in 2004 he was paid a record fee of five million dollars for the episodic role in Dirty Dancing 2: Havana Nights, although he received only 200 thousand for the first part of the story.
WHAT KILLED PATRIK SWAZY?
"Point Break" became one of the last successful films by Patrick Swayze
Workaholic and perfectionist, the actor, nevertheless, managed to combine career and family. Patrick's only love was Lisa Niemi, who studied with him at the same ballet school. She not only became the wife, but also the muse of the artist. With Lisa in mind, Swayze wrote the song She's Like The Wind, which was eventually used in Dirty Dancing.
Unfortunately, the couple never had children: after a miscarriage at 19The 90th Liza was diagnosed with infertility. This did not change Patrick's reverent attitude towards his wife, on the contrary, he assured his beloved that they were a team and would cope with any adversity. Together, the couple created a family idyll - they bred horses on their own ranch.
In the late 1990s, life away from strangers took on a special meaning: Patrick suffered from the failure of several films at the box office and began to drink. Under the influence of alcohol, the actor became uncontrollable - he cursed, shot at tires. Alcohol addiction almost destroyed the artist's marriage, but the couple were able to overcome the crisis when Swayze agreed to undergo rehabilitation at the clinic.
“There is no perfect relationship, you just don't give up. And of course there are bad times. But I would be with Patrick a million more times if I could,” shared Lisa.
Patrick Swayze's marriage lasted 34 years
It seemed that after the victory over addiction, everything should have worked out. But the spouses were waiting for new tests. At the age of 55, the actor was diagnosed with stage 4 pancreatic cancer. Despite the deterioration of health, he continued to act in film and wrote memoirs, trying to leave a mark. The efforts of doctors were in vain: in January 2009th artist suffered pneumonia, and in the spring metastases were found in his liver. Patrick fought the disease to the last, but on September 14, 2009, he died in Los Angeles.
“I thought that during the 22 months of my husband's illness, I had time to get used to the idea that I would lose him. But when I really reached this point, I realized: it’s not the same at all, ”admitted Lisa Niemi.
After the death of Patrick Swayze, Kirstie Ellie told about the affair with him
The couple were together for 34 years, and after Patrick left, Lisa fell into a deep depression.