DIRTY dancing never went out of style. At least that’s what the producers of this movie are trying to prove. Reliving the passion (and disappointedly, the plot) of Dirty Dancing in 1987, Dirty Dancing 2: Havana Nights has shown once more the sensuous expression of love and lust through the fine art of dancing.
The story takes place in Havana, Cuba that was at the brink of revolution against the government. Javier Suarez (played by Diego Luna of Y Tu Mama Tambien) meets Katey Miller (Romola Garai) at the Palace Hotel where the former works as a waiter and the latter, a new resident. Katey is drawn to the mucho guapito Javier, along with the exhilarating moves of dirty dancing. Of course, in an era where discrimination is still rampant, this is inconceivable, and so conflict between the girl and her family is inevitable. It goes on, naturally, that they overcome such conflicts. Who wants to have a tragic story anyway? But a certain twist is presented at the end: Katey has to leave Cuba (because the government has been overthrown) and Javier wants to stay. A good twist, one might say, but predictable nevertheless.
Well, it is obvious that the story of this movie is not original, since most parts of it can very much resemble the plot of the first film: the rich girl, poor boy conflict, the tradition of family ties, and the conservative world against the new and liberating. But it is fascinating to learn that this movie was based from actual events of the life of co-producer/choreographer JoAnn Jansen, who makes her appearance in the movie. A mere coincidence between the plot of the first film and the second? Amazing. Whether they made it their purpose to have the same flow or not, the same clichés did not do much good to the film. Even the cameo role of Patrick Swayze who starred in the first one wasn’t much help.
Hands down to the choreography. The moves were very much real and felt, and the actors performed well. The grace and emotions of dirty dancing simply cannot be faked. They couldn’t have pulled it off with actors they still have to train. TV director Guy Ferland was prudent in making sure that his movie still has that same exuberant flair that Eleanor Bergstein’s film had.
Although Diego was a natural portraying the part of Javier, Romola, on the other hand, still needs a few lessons in acting 101. An expressionless face never made it big—anywhere. Her moves, although befitting in the movie, are not sufficient enough to have a serious career in films.
Great choreography, bad acting—just some of the things you might find in this movie. Not exactly the perfect combination. If you want your money’s worth, go find something else to watch, unless you’re just into seeing Diego Luna or Romola Garai doing their moves.
