| Dance, Little Lady | |
| Director: | Val Guest |
| Producer: | George Minter |
| Story: | R. Howard Alexander Alfred Dunning |
| Starring: | Terence Morgan Mai Zetterling Guy Rolfe Mandy Miller |
| Music: | Ronald Binge |
| Cinematography: | Wilkie Cooper |
| Editing: | John Pomeroy |
| Studio: | Alderdale Films |
| Distributor: | Renown Pictures |
| Runtime: | 87 minutes |
| Country: | United Kingdom |
| Language: | English |
| Budget: | £76,669[1] |
Dance, Little Lady is a 1954 British drama film directed by Val Guest and starring Terence Morgan, Mai Zetterling, Guy Rolfe and Mandy Miller.[2] [3] The screenplay was by Guest and Doreen Montgomery from a story by R. Howard Alexander and Alfred Dunning.
The film was made by independent producer George Minter and distributed by his Renown Pictures.[4]
Prima ballerina Nina Gordon is being financially exploited by her husband Mark. On the night of her triumphant Royal Opera House debut, she discovers he is also being unfaithful. Distraught, she leaves the party they were attending. However, Mark pulls up in their car and she gets in and he drives off at speed into the night. There is a car crash and Nina's leg is badly broken.
Learning that she'll never dance again, Nina is abandoned by Mark. But with the help of a sympathetic doctor, Nina recovers the use of her legs, and begins to live her life vicariously through her talented daughter. When Mark reenters Nina's life, intending to take control of the daughter's dancing career, he finds the tables are turned on him.
The film was shot in Eastmancolor at the Walton Studios near London. The sets were designed by the art director Frederick Pusey.
According to Kinematograph Weekly the film was a "money maker" at the British box office in 1954.[5]
The Monthly Film Bulletin wrote: "This film gives the appearance of having been rather carelessly made. The plot and dialogue are full of clichés; improbabilities and contradictions abound. As a ballet film it is unsatisfying; the short glimpses of Giselle (danced by David Poole and Maryon Lane) are very brief. The excessive sentiment is reflected in the musical score. Terence Morgan is quite unconvincing as the irresponsible husband; Mai Zetterling and Mandy Miller are efficient. Guy Rolfe alone gives a really creditable performance. The colour (by Eastman Color) is good."[6]
Kinematograph Weekly wrote: "The picture wears its heart on its sleeve and its lack of pretence commends it to all classes. ...Val Guest's treatment is as competent as the acting. "[7]
The Radio Times wrote, "the dance sequences are fine, but the poor production values ruin the look of the film".[8]
TV Guide called it "a trite film".[9]
Sky Movies wrote, "Terence Morgan makes the best impression, as a sponger as smooth as he is nasty, in this ballet-orientated story, tailored to the talents of Britain's then screen wonder child, Mandy Miller. It bases its appeal on a blend of small-girl sentiment, highly coloured melodramatics and ballet (the dance ensembles are very well done). Mai Zetterling and Guy Rolfe provide rather limp support to Mandy's undeniable charm, but the story's fiery climax is most effective."[10]