Initially, seeing the billing for ‘Love Don’t Dance’ raised eyebrows. Why were Briana Evigan, Carmen Electra, and Stacey Dash listed above Ali Cobrin? It quickly becomes apparent that Ali Cobrin is the undeniable lead, with Robert Hoffman playing a significant role as well. Dash’s presence is minimal, almost cameo-like, while Evigan and Electra have slightly more screen time but are still supporting players at best. This casting quirk aside, the movie itself offers a surprisingly realistic glimpse into the world it portrays.
One of the film’s strengths lies in its portrayal of Monica’s motivations for entering the dance industry. It resonates with real-life stories of dancers who start for pragmatic reasons. Just like Monica, many individuals turn to dancing to overcome financial hardships – paying medical bills, providing for families, or keeping children away from difficult environments. The film touches upon the common initial mindset: “I’ll dance temporarily until things get better.” However, as depicted, this temporary solution can easily become a longer-term path, sometimes leading to further complexities. The movie doesn’t shy away from showing the potential downsides, hinting at how the pursuit of higher earnings can strain personal relationships, a realistic challenge faced by many in this profession. Without revealing too much of the plot, it’s fair to say that while most of the film grounds itself in reality, the ending takes a less predictable, perhaps less realistic turn.
The performances are commendable. Ali Cobrin shines in her central role, delivering a convincing portrayal. Robert Hoffman effectively plays her husband, and the supporting cast contributes well to the overall narrative. For the most part, the storyline is believable, with the exception of the aforementioned ending. Going into this movie with low expectations, anticipating a shallow and exploitative film, was quickly proven wrong. ‘Love Don’t Dance’ is far from gratuitous. While there is some nudity, it is not excessive. Scenes involving nudity are handled discreetly, focusing on implication rather than explicit exposure, such as a scene where Ali Cobrin is nude in bed, carefully framed to show only her profile and back, or another where she is briefly seen from behind as she walks to the bathroom. The strip club scenes feature some topless dancers, but the film avoids the kind of overt nudity found in movies like ‘Showgirls’.
Ultimately, ‘Love Don’t Dance’ earns a solid rating for its surprisingly realistic portrayal of dancers and the challenges inherent in that life. While a bit more grit and a more grounded ending could have elevated it further, the film’s imperfections are minor. It’s a movie that defies initial assumptions, offering a more thoughtful and realistic perspective than one might expect.
