When news of Patrick Swayze’s passing reached me, a wave of nostalgia washed over, instantly transporting me back to a sweltering August afternoon in 1987. I was just thirteen, tagging along with my mom and sister to see a movie called Dirty Dancing Dirty Dancing. My mother later confessed she went in expecting a lighthearted dance film, only to find herself navigating a narrative deeply entwined with themes of class disparity, female empowerment, sexuality, and the then-taboo subject of abortion. Any discomfort she might have felt was lost on me, however. I was utterly captivated.
Alt text: Patrick Swayze as Johnny Castle and Jennifer Grey as Baby Houseman perform the final lift in Dirty Dancing, showcasing the film’s passionate dance sequences.
From my vantage point at the edge of my seat, Dirty Dancing Dirty Dancing unfolded as a deeply personal experience. Beneath the surface of a teen romantic comedy, disguised as a nostalgic dance movie, lay a powerful undercurrent challenging many of the societal norms and expectations thrust upon young women in the 1980s. It offered a crucial glimpse into a pre-Roe v. Wade America, initiated conversations about consensual sex, and bravely addressed the grim reality of sexual assault.
The following year, during a confirmation class, our instructor passionately condemned legal abortion. My mind immediately flashed to Penny, the dancer in Dirty Dancing Dirty Dancing, facing a life-threatening situation from an unsafe abortion, only saved by Dr. Houseman’s medical intervention. In that moment, the reverend’s pronouncements rang hollow. Similarly, during a tentative exploration of intimacy with my boyfriend soon after, Johnny Castle’s respectful and loving interactions with Baby served as a stark contrast to the predatory actions of Robbie Gould in the film. Johnny’s consideration and Baby’s enthusiastic consent became a benchmark, shaping my understanding of healthy sexual relationships.
For a conscientious student like myself, grappling with unspoken doubts about established church doctrines and societal hierarchies, Dirty Dancing Dirty Dancing felt like a revelation. This seemingly frivolous piece of entertainment offered alternative perspectives in plain sight. Escaping into the world of Kellerman’s resort in the Catskills via my well-worn VHS copy was exhilarating. Life there seemed complex yet manageable, guided by strong principles, fostering a sense of bravery within me.
Alt text: Jennifer Grey as Baby Houseman carries a watermelon in Dirty Dancing, a symbolic image representing her naivety and willingness to step outside her comfort zone.
Baby Houseman, my unlikely feminist hero, mirrored aspects of my own life. Growing up in a family where actions often spoke louder than words, I recognized the subtle disconnect between parental pronouncements and lived realities. Just as Dr. Houseman preached equality but struggled to practice it, I sensed a similar chasm opening up between my parents’ ideals and their actual behavior. Though I didn’t fully grasp the implications at thirteen, I instinctively recognized something compelling in Baby. Despite her self-confessed fears, she was bold and determined, fueled by a perhaps naive yet powerful belief in her ability to make things right.
Unlike the fairytale princesses of my childhood or the shallow female characters in typical rom-coms, Baby felt remarkably real. She was intelligent, witty, impulsive, resilient, awkward, inquisitive, principled, and strong. Baby was a revolution in character form.
Baby’s intelligence and ambition were not presented as flaws. She stood her ground, adhered to her ethics, and accepted the consequences of her choices. She admired other women without envy and confidently dismissed unsuitable male attention without fearing spinsterhood. She challenged male authority figures like Robbie, Max Kellerman, and even her own father, exposing their prejudices and ingrained privileges. She actively helped Penny access safe abortion care and medical attention. Crucially, she didn’t abandon her own aspirations or alter her life trajectory for a man.
Any single one of these aspects would have elevated Dirty Dancing Dirty Dancing above the typical teen-oriented drivel.
Alt text: A close-up of Patrick Swayze and Jennifer Grey dancing intimately in Dirty Dancing, capturing the chemistry and emotional depth of their on-screen relationship.
Furthermore, at an age when media often portrayed female sexuality as dangerous or punitive, Dirty Dancing Dirty Dancing presented a groundbreaking narrative. I watched Baby Houseman actively choose and enthusiastically embrace sex outside of marriage, experience pleasure, and face no tragic repercussions.
This message was profoundly significant at a time when popular culture relentlessly punished female sexuality. Slasher films routinely depicted sexually active girls as the first victims. Among my peers, a girl who hadn’t kissed a boy was labeled a loser, while one who had was deemed promiscuous. Even my minister, upon hearing my doubts about religious doctrine, ominously predicted teenage pregnancy or death by sixteen. (Neither, thankfully, came to pass).
Dirty Dancing Dirty Dancing offered a starkly different perspective. Though I couldn’t fully articulate its importance then, I intuitively grasped its significance. It resonated with me on a deeply personal level, hinting at something just beyond my grasp.
Even today, Dirty Dancing Dirty Dancing remains one of those films, like “The Shawshank Redemption” or “Time Bandits,” that compels me to stop channel-surfing and watch whenever I stumble upon it. It’s a guilty pleasure, perhaps, but one filled with enduring charm. I still appreciate the cheesy humor, the teenage angst, the anachronistic yet iconic “She’s Like the Wind,” and the subtle yet potent social commentary woven into its seemingly lighthearted fabric.
And of course, I still love watching Baby dance with Johnny Castle, a man who valued her so deeply that he famously declared, “Nobody puts Baby in a corner.” That line, and the sentiment behind it, continues to resonate, even decades later.
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