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HISTORY

The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Vinessa Knowles, a student at the University of California, Los Angeles, with Jonathan Furner as academic advisor.

End credits include the following written statements: “Special thanks to Olga Vavaro and the Pedro and Olga Dance Studio; Andy Pelligrino; and the staff of Roseland Dance City,” and “Filmed on location at the Roseland Ballroom, New York City.”
       Voice-over narration is heard intermittently throughout the film by two main characters, first “Cleo” and later “Rosa.” The titles of the film’s three vignettes, The Waltz, The Hustle and The Peabody, are not indicated during the film but are listed in the end credits.
       Principal photography for the three and one-half week shoot began 10 Jan 1977 at New York City’s Roseland Ballroom and marked the shortest shooting schedule of any Merchant-Ivory picture to date, according to a 26 Jan 1977 Var article that also reported that filming was set to end that week with a budget of $250,000. Although release was planned for May 1977, the picture remained without a distributor until 19 Sep 1977, when a worldwide release deal was confirmed with Cinema Shares International Distribution, as announced in the 28 Sep 1977 Var. The film premiered 2 Oct 1977 at Lincoln Center’s Alice Tully Hall in New York City as part of the New York Film Festival. ...

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The summary and note for this entry were completed with participation from the AFI Academic Network. Summary and note were written by participant Vinessa Knowles, a student at the University of California, Los Angeles, with Jonathan Furner as academic advisor.

End credits include the following written statements: “Special thanks to Olga Vavaro and the Pedro and Olga Dance Studio; Andy Pelligrino; and the staff of Roseland Dance City,” and “Filmed on location at the Roseland Ballroom, New York City.”
       Voice-over narration is heard intermittently throughout the film by two main characters, first “Cleo” and later “Rosa.” The titles of the film’s three vignettes, The Waltz, The Hustle and The Peabody, are not indicated during the film but are listed in the end credits.
       Principal photography for the three and one-half week shoot began 10 Jan 1977 at New York City’s Roseland Ballroom and marked the shortest shooting schedule of any Merchant-Ivory picture to date, according to a 26 Jan 1977 Var article that also reported that filming was set to end that week with a budget of $250,000. Although release was planned for May 1977, the picture remained without a distributor until 19 Sep 1977, when a worldwide release deal was confirmed with Cinema Shares International Distribution, as announced in the 28 Sep 1977 Var. The film premiered 2 Oct 1977 at Lincoln Center’s Alice Tully Hall in New York City as part of the New York Film Festival.

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GEOGRAPHIC LOCATIONS
SOURCE CITATIONS
SOURCE
DATE
PAGE
Hollywood Reporter
20 Oct 1977
p. 23
Los Angeles Times
22 Nov 1977
p. 12
New York Times
2 Oct 1977
p. 66
Variety
26 Jan 1977
---
Variety
5 Oct 1977
p. 36
CAST
NAME
CREDITED AS
CREDIT
Starring, The Waltz
Starring, The Waltz
Starring, The Hustle
Starring, The Hustle
Starring, The Hustle
Starring, The Hustle
Starring, The Peabody
Starring, The Peabody
Also starring, The Hustle
Also starring, The Waltz
as The
+

NAME
CREDITED AS
CREDIT
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
Merchant Ivory Productions presents
In association with the Oregon Four
A Merchant Ivory film
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
2d asst dir
Prod mgr
PRODUCERS
Assoc prod
Assoc prod
Exec prod
Exec prod
WRITER
Story and scr
PHOTOGRAPHY
Dir of photog
Asst cam
Asst cam
Gaffer
Grip
ART DIRECTOR
Prod des consultant
FILM EDITORS
Asst ed
COSTUMES
Asst cost des
Cost asst
MUSIC
Mus comp and cond
Mus rec at
New York City
SOUND
Sd ed
Sd mixing
VISUAL EFFECTS
DANCE
Dance dir
MAKEUP
Makeup
Hairdresser
PRODUCTION MISC
Casting
Asst to the dir
Scr supv
Asst scr supv
Asst to the prod
Prod secy
Prod coord
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
COLOR PERSONNEL
Col by
SOURCES
SONGS
"Rockin' Chair," by Hoagy Carmichael, © 1929 Carmichael Music Publications, Inc., © renewed 1957 Carmichael Music Publications, Inc., used by permission of Carmichael Music Publications, Inc.; "Baubles, Bangles And Beads," by Robert Wright and George Forrest, © 1953 Frank Music Corp.; "The Moon Of Manakoora," by Frank Loesser and Alfred Newman, © 1937 Frank Music Corp., © Renewed 1965 Frank Music Corp.; "Stranger In Paradise," by Robert Wright and George Forrest, © 1953 Frank Music Corp.; "On A Slow Boat To China," by Frank Loesser, © 1948 Frank Music Corp., © Renewed 1976 Frank Music Corp., used by permission of Frank Music Corp; "Super Cool," vocalist Cheryl Lynn, words and music by Elton John and Bernie Taupin, © 1974 Dick James Music, Inc., produced by Greg Edwards for Vingolia Music, remix by Arthur Braun, D.J.M. Records.
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
16 October 1977
Premiere Information:
New York premiere: 2 Oct 1977 at Lincoln Center; New York opening: 16 Oct 1977; Los Angeles opening: 23 Nov 1977
Production Date:
10 Jan--late Jan 1977 in New York City
Physical Properties:
Sound
Color
Widescreen/ratio
Panavision
Duration(in mins):
103
MPAA Rating:
PG
Countries:
United Kingdom, United States
Language:
English
SYNOPSIS

At the Roseland Ballroom in New York City, Cleo teaches dance lessons to elderly patrons who wish to recapture the glory and romance of their youth. One regular, a widow named May, is obsessed with her deceased husband, Eddie, who loved the waltz. When a ladies’ man named Stan leads May onto the dance floor, she envisions a younger version of herself in a mirror, dancing with Eddie. May tries to replicate the apparition with another partner, the master of ceremonies, but realizes that she can only experience her fantasy with Stan. Despite May’s aversion to alcohol, she meets Stan at the bar and he guides her back to the dance floor, where she sees a younger version of herself with Eddie in the mirror yet again. Later, at a Roseland dance contest, Cleo points out a couple that was “made for each other” and May wishes to see herself again in the mirror. When she partners with Stan on the dance floor and points to their image, he claims it is an optical illusion. Astonished that Stan is able to share her vision, May later approaches him at the Roseland bar, but Stan evades her attention, noting that her partner in the mirror is not him, but Eddie. May agrees to have a drink. As time goes by, Stan becomes more intrigued by May and she becomes increasingly peculiar, drinking and staring into mirrors. When Stan asks May to dance, she declines, claiming that Stan is an inferior replacement for Eddie, but she changes her mind with the conviction that her visions are psychic messages of approval from Eddie. ...

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At the Roseland Ballroom in New York City, Cleo teaches dance lessons to elderly patrons who wish to recapture the glory and romance of their youth. One regular, a widow named May, is obsessed with her deceased husband, Eddie, who loved the waltz. When a ladies’ man named Stan leads May onto the dance floor, she envisions a younger version of herself in a mirror, dancing with Eddie. May tries to replicate the apparition with another partner, the master of ceremonies, but realizes that she can only experience her fantasy with Stan. Despite May’s aversion to alcohol, she meets Stan at the bar and he guides her back to the dance floor, where she sees a younger version of herself with Eddie in the mirror yet again. Later, at a Roseland dance contest, Cleo points out a couple that was “made for each other” and May wishes to see herself again in the mirror. When she partners with Stan on the dance floor and points to their image, he claims it is an optical illusion. Astonished that Stan is able to share her vision, May later approaches him at the Roseland bar, but Stan evades her attention, noting that her partner in the mirror is not him, but Eddie. May agrees to have a drink. As time goes by, Stan becomes more intrigued by May and she becomes increasingly peculiar, drinking and staring into mirrors. When Stan asks May to dance, she declines, claiming that Stan is an inferior replacement for Eddie, but she changes her mind with the conviction that her visions are psychic messages of approval from Eddie. Stan wishes to be recognized as his own person, not a manifestation of Eddie, and shares his life story with May, admitting that he spent years mourning the death of his young bride. Although the band plays a salsa, not a waltz, May asks Stan to dance. At another Roseland event, a young gentleman named Russel celebrates the birthday of his older lover, Pauline. He dances with Pauline’s friend, Marilyn, while Pauline tells Cleo that Marilyn was recently abandoned by her husband. When Russel returns to the table and takes Pauline to the dance floor, Marilyn tries to slip away unnoticed. However, Marilyn realizes she does not have a coat check token and Russel corners her, asking for another dance. He takes her to Cleo’s darkened backstage studio, explaining that Cleo was his dance teacher, and brandishes the coat check token. Russel encourages Marilyn to look for a new relationship, but she is intent on finding a job so she can be independent. As Russel proposes a dance with Marilyn, Cleo turns on the lights and leads the couple out of her studio. Sometime later, Cleo trains a young couple for an upcoming hustle contest as Russel watches. He then phones Marilyn, declaring his desire to start a relationship, but she is preoccupied with a pending job interview. Back at the studio, Russel sees Pauline, who demands affection from her protégé and decorates him with a new silk scarf. Pauline invites Russel to her apartment but he declines, claiming he must look for a job. Pauline argues that she is unwell and needs his care. Later, Russel escorts Marilyn to the Roseland bar, insisting that Pauline wants him to “look after” her, too. He orders drinks and charges them to Pauline’s tab, then notices Cleo eyeing him and asks Marilyn to dance. Cleo follows with another partner and pulls Russel away, but he leaves her to go after Marilyn. Waiting for the bus, Marilyn regrets her solitude and Russel escorts her back to Roseland. Sometime later, Russel and Marilyn run into Pauline and Cleo. As Russel and Pauline dance, Cleo reflects that Russel enjoys being a gigolo, but Marilyn argues that Russel wants to detach himself from Pauline and support himself as a professional dancer. Just then, Russel appears with Pauline, who is doubled over in pain, and Marilyn guides the couple to a cab. Back at Cleo’s studio, Russel reports that Pauline is convalescing in the hospital. When Cleo proposes that Russel partner with her for a professional career, Russel leaves for a Roseland date with Marilyn. However, he arrives late and Marilyn complains about his dependency on Pauline. She explains that she loves her new job, and will soon make enough money to support them both. Later, in the ballroom, the friends celebrate Pauline’s homecoming and she insists that Russel dance with Marilyn. The couple goes to Cleo’s studio, instead, where Marilyn agrees to pay for Russel’s training with Cleo, but Russel is reticent about announcing their relationship. Meanwhile, on the dance floor, Cleo’s students unsuccessfully compete in the hustle contest. When Russel and Marilyn return to their table, Pauline presents Russel with an expensive watch and tickets for a tropical cruise. As Cleo consoles the hustle contestants, Marilyn leaves Roseland for good. On another day at the ballroom, an elderly woman named Rosa collapses in exhaustion on the ladies’ lounge sofa. She tells the attendant about her deceased dance partner, Arthur, who would embarrass her by napping spontaneously. Rosa remembers an evening when she and Arthur danced in a Peabody contest. Another couple won, but Bert, the male partner, passed out as he accepted the trophy. Rosa and Arthur continued to train, but Arthur was unambitious and refused to smile during their routines. One night, Arthur arrived late to another Peabody contest and consoled Rosa by asking her to perform her Marlene Dietrich impression. When she expressed regret that she was unable to pursue her dream of becoming an opera singer, Arthur proposed marriage. Back in the lounge, Rosa tells the attendant that Arthur continued to propose, but they never saw each other outside Roseland. Rosa insists that she doesn’t miss Arthur and claims that dancing alone enables her to fantasize about her ideal partner. However, she remembers one evening when Arthur collapsed in the men’s lounge but wanted to dance anyway. Rosa feigned exhaustion to prevent Arthur from dancing and they watched the contest from the sidelines, agreeing that they would have won that night because of the inferior competition. Arthur stole a kiss from Rosa before leaving Roseland, but fell into a coma on the subway. Back at the Roseland ladies’ lounge, Rosa hears the orchestra play the Peabody and heads to the dance floor with excitement, but she turns away, realizing she is missing her partner. As Rosa looks out at New York City from the Roseland foyer, she wishes aloud to never leave the ballroom again and the master of ceremonies asks her to dance. On the dance floor, Rosa spins with delight and collapses in death, still fantasizing about her ideal partner.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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