While the original “Dirty Dancing” captivated audiences and dominated the box office, not everyone was entirely convinced of its cinematic brilliance. “Dirty Dancing: Havana Nights,” often referred to as the “Dirty Dancing 2 Movie,” attempts to recapture the magic, shifting the setting to 1958 Havana. Does this sequel sway to its own rhythm, or does it simply repeat the same steps?
The Miller family, affluent St. Louis natives, arrive in pre-revolution Cuba, bringing their teenage daughter Katey (Romola Garai) along for the ride. She finds herself amidst the predictable attentions of James Phelps (Jonathan Jackson), the son of another wealthy family – because in movies, are Phelpses ever anything but rich? However, Katey’s world shifts when she encounters Javier Suarez (Diego Luna), a charming Cuban waiter her age. An accidental mishap leads to Javier’s dismissal, setting the stage for their burgeoning connection.
Alt text: Romola Garai as Katey Miller and Diego Luna as Javier Suarez share a dance in Dirty Dancing 2 Movie, Havana Nights, highlighting the film’s romantic and dance-centric themes.
Predictably, Katey finds the privileged Phelps dull compared to the genuine and considerate Javier. While Javier may initially lack the overt sex appeal of a certain Swayze, his dance moves speak volumes. Katey is soon torn between stuffy, formal balls and the pulsating energy of La Rosa Negra, Javier’s local club – a setting echoing the vibrant disco from “Saturday Night Fever.”
The question arises: can this American princess, accustomed to a sheltered life, find her rhythm? Of course, the answer is a resounding yes. In a scene reminiscent of the original, Javier guides Katey in the ocean, teaching her to feel the music in the waves, to let her body move naturally. Meanwhile, they rehearse increasingly intricate choreography, the kind that would challenge even seasoned dancers.
Alt text: Javier, played by Diego Luna, instructs Katey, portrayed by Romola Garai, in dance steps by the ocean in Dirty Dancing Havana Nights movie, emphasizing the dance instruction and romantic development in a picturesque setting.
It’s almost inevitable that Katey and Javier will defy social norms and enter a dance competition. Equally predictable is the scene where Mr. and Mrs. Miller, attending the grand contest, are astonished to see their own daughter on stage. Initial shock gives way to pride, especially for Mrs. Miller (Sela Ward), a former dancer herself, who recognizes Katey’s inherited talent. The message is clear: Katey must follow her passion, embrace her talent, and “sway with the waves” to success.
In the background, Fidel Castro’s revolution brews, threatening to disrupt the glamorous facade of Batista’s Havana. While this political backdrop could have added depth, as seen in films like “Havana” or “The Godfather Part II,” its inclusion in “Dirty Dancing: Havana Nights” feels somewhat forced. Do the obligatory scenes of revolution – chaos in the streets, families separated – create genuine tension, or just a sense of tedious distraction from the central dance narrative? One wonders if Castro might have been better utilized crashing the dance contest incognito.
Alt text: A scene from Dirty Dancing 2 Havana Nights showcasing the Cuban revolution as a backdrop, illustrating the film’s attempt to blend romance and dance with political upheaval in 1958 Cuba.
Despite its predictable plot, “Dirty Dancing: Havana Nights” earns a slightly higher rating than its predecessor, not out of newfound leniency, but perhaps due to the sheer visual pleasure it offers. Movies are, after all, about images, and “Dirty Dancing: Havana Nights” is undeniably beautiful. Its depiction of 1950s Havana (actually San Juan, Puerto Rico) is visually rich, filled with classic cars and vibrant settings. The dance sequences are well-executed, and the soundtrack is undeniably catchy.
Much of the film’s charm rests on the shoulders of Romola Garai and Diego Luna. Luna, known for “Y Tu Mama Tambien,” brings his signature quirky charisma. Garai, with her beauty and comedic talent showcased in films like “Nicholas Nickleby” and “I Capture the Castle,” is equally captivating. Their combined presence and chemistry elevate “Dirty Dancing: Havana Nights” above its formulaic storyline.
In conclusion, “Dirty Dancing: Havana Nights” is a visually appealing movie with charismatic leads that offers a familiar, albeit predictable, dance-centric narrative against the backdrop of 1950s Cuba. While it may not break new ground in storytelling, the movie provides an enjoyable visual and auditory experience. However, for those seeking more substantial cinematic experiences from Garai and Luna, exploring films like “Y Tu Mama Tambien,” “Nicholas Nickleby,” or “I Capture the Castle” might be a more rewarding choice.
