Jacques D'Amboise Movies

This film is a follow-up to the Oscar-winning documentary He Makes Me Feel Like Dancin' which captured the exuberance and committment of public school chilren ages nine to 11 enrolled in Jacques d'Amboise's innovative dance program at the National Dance Institute (NDI). Using footage from the original film to identify the participants and recall their earlier experiences, Who's Dancin' Now revisits the alumni now in their mid-twenties. They are a diverse group of young professionals with the NDI in common. This film shows them at work and play and gives a glimpse of how their lives were shaped by their experiences. ~ Karla Baker, Rovi

From the eight-part series Dancing, comes Dancing: Lord of the Dance, a look at the spiritual significance of the art of dance. Hosted by Raoul Trujillo, the film explores the relationship between religion and dance from the perspective of Christianity, Hinduism, and the Yoruba of Nigeria. It examines cultural beliefs, which have molded traditions of both secular and sacred dance, including sects which consider dance divine and those which view dance as pagan. ~ Sally Barber, Rovi

This filmization of Shakespeare's Midsummer Night's Dream is actually the New York City Ballet version, as staged by George Balanchine. Topnotch dance artists Suzanne Farrell and Edward Villella head a distinguished troupe in keeping the classic tale of mismatched lovers and magic spells on its toes. At 93 minutes, this film will appeal most to ballet aficionados; don't try to force the kids to watch if they'd rather change over to Barney or the Mighty Morphin Power Rangers. Though George Balanchine is occasionally listed as the film's director, it was in fact Dan Eriksen who set up the cameras and chose the angles. Midsummer Night's Dream virtually defies a cinematic approach, though Eriksen tries his hardest. ~ Hal Erickson, Rovi

The Best Things in Life are Free is the tuneful if uninspired life story of popular composers DeSylva (Gordon MacRae), Brown (Ernest Borgnine) and Henderson (Dan Dailey). Pooling their talents, the trio rises from Tin Pan Alley to fame and fortune. The team's future is threatened when Buddy DeSylva becomes a big-time movie mogul, his ego expanding with his new responsibilities. But there's a happy ending, replete with a big, blow-out production number. Highlights include Sheree North and Jacques D'Amboise's dance deut to the tune of "Birth of the Blues"; this was North's first opportunity to play something other than a Marilyn Monroe type, and she acquits herself quite nicely. Other DeSylva-Brown-Henderson songs showcased throughout the film include "Button Up Your Overcoat", "Black Bottom", "Sunny Side Up" and the title number. ~ Hal Erickson, Rovi

Based extremely loosely on the Stephen Vincent Benet story Sobbin' Women," Seven Brides for Seven Brothers is one of the best MGM musicals of the 1950s. Most of the story takes place on an Oregon ranch, maintained by Adam Pontabee (Howard Keel) and his six brothers, played by Jeff Richards, Russ Tamblyn, Tommy Rall, Mark Platt, Matt Mattox, and Jacques d'Amboise (it is no coincidence that five of those six boys are played by professional dancers). When Adam brings home his new bride Milly (Jane Powell), she is appalled at the brothers' slovenliness and sets about turning these unwashed louts into immaculate gentlemen. During the boisterous barn-raising scene, the brothers get into a scuffle with a group of townsmen over the affection of six comely lasses: Virginia Gibson, Julie Newmeyer (later Newmar), Ruth Kilmonis (later Ruth Lee), Nancy Kilgas, Betty Carr, and Norma Doggett (yep, most of the girls are dancers, too). Yearning to become husbands like their big brother, they ask Adam for advice. Alas, he has been reading a book about the abduction of the Sabine Women (or, as he puts it, the Sobbin' Women); and, in order to claim their gals, Adam explains, the boys must kidnap them--which they do, after blocking off all avenues of escape. Vowing to remain on their best behavior, the boys make no untoward advances towards their reluctant female guests--not even during one of the coldest winters on record. Comes the spring thaw, the angry townsfolk come charging up the mountain, demanding the return of the stolen girls (who, by this time, have "tamed" their men). A happy ending is ultimately had by all in this delightful if politically incorrect concoction. ~ Hal Erickson, Rovi