Overlay: Critical and commercial reception of Dirty Dancing (1987)

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Errors	Missing	Unverified	Supported
1	1	0	5

How were these counts calculated?

Errors (1)

The phrase 'cliché-ridden script' is often misattributed. It appears in a 2006 Gsource-confusion

Missing (1)

Janet Maslin's Review: Some sources suggest Janet Maslin (NYT) also wrote a negalost-nuance

#Q ORIGINAL QUESTION

Regarding the film Dirty Dancing (1987), how was the film received and reviewed at the time of release?

#M ANNOTATED LLM RESPONSE

At the time of its release on August 21, 1987, Dirty Dancing was a massive "sleeper hit" that defied the low expectations of industry insiders and received a polarized but ultimately career-making reception from critics.

1. Initial Industry Skepticism

The film was famously a "hit that almost wasn't." Produced by the small independent studio Vestron Pictures on a modest $6 million budget, it was initially rejected by every major studio. Test screenings were so poor that a producer allegedly suggested they "burn the negatives and take the insurance." Vestron originally planned to release the film in theaters for only one weekend before sending it straight to the then-booming home video market.

2. Critical Reception: Mixed to Positive

While the film became a cultural phenomenon, critics at the time were divided between those who loved its energy and those who found its plot derivative.

The New York Times (Vincent Canby): Canby gave a largely positive review, praising the "drive and pulse" of the dancing. He noted that while the story was a "standard-model" summer romance, the choreography by Kenny Ortega gave the film real excitement.
The Los Angeles Times (Sheila Benson): Benson called it the "sweet sleeper of a hot season," describing it as "smart and funny, touching and unabashedly sensual." She specifically praised director Emile Ardolino for making the audience feel the "exhilaration and pure animal pleasure" of dancing.
Roger Ebert (Chicago Sun-Times): Ebert famously panned the film, giving it a "Thumbs Down." He called it a "tired and relentlessly predictable story" and criticized what he termed the "Idiot Plot"—a plot that only exists because the characters are too "idiotic" to talk to each other and clear up simple misunderstandings. However, even in his negative review, he admitted that Swayze and Grey were "great dancers."
Gene Siskel (Chicago Tribune): Siskel was slightly more forgiving, giving it a "marginal Thumbs Up." He found Jennifer Grey’s performance and her character’s growth to be the film’s strongest assets.
Variety: The industry "bible" gave a mixed-to-positive review, noting the film's "cliché-ridden script" but predicting its success based on the "electric chemistry" between the leads and the appeal of the soundtrack.

3. Key Points of Review Detail

Chemistry and Performance: Almost every critic, regardless of their feelings on the script, praised the chemistry between Patrick Swayze and Jennifer Grey. Swayze was lauded for his physical grace and "diamond-in-the-rough" magnetism, while Grey was praised for her relatable, "nuanced" portrayal of Baby’s transition into adulthood.
The Abortion Subplot: This was a significant point of discussion. At the time, it was rare for a "teen" romance to center its plot on a botched illegal abortion. Some critics found it a jarringly dark addition to a musical, but others, like the LA Times, felt it added a "smart" layer of social commentary about the pre-Roe v. Wade era.
The Soundtrack: The music was universally cited as the film’s engine. Even negative reviews acknowledged that the songs—a mix of 1960s "oldies" and 1980s pop like "(I've Had) The Time of My Life"—were infectious. Some purists (like Desson Thomson of The Washington Post) complained that using 1980s power ballads in a 1963 setting "blew the period feel right off the dance floor."

4. Box Office and Cultural Impact

The film's reception by the audience far outpaced the critical reviews.

Word-of-Mouth Success: After a modest opening weekend of $3.9 million, word-of-mouth caused it to stay in theaters for months. It eventually grossed over $170 million worldwide in 1987 alone (over $214 million including re-releases).
Home Video Milestone: It became the first film to sell one million copies on home video, proving that the "teen girls and their mothers" demographic was a massive, untapped market.
Accolades: Despite the "predictable" labels, the film won the Academy Award for Best Original Song, and both Swayze and Grey received Golden Globe nominations.

#F CORRECTION FEED (CLICK TO SEARCH)

[1] The quote is widely attributed to producer Aaron Russo or a Vestron executive following a poor test screening.

[2] Vincent Canby's NYT review (Aug 21, 1987) explicitly praises the 'drive and a pulse' of the dancing.

[3] Sheila Benson's LA Times review (Aug 21, 1987) uses the exact phrase 'sweet sleeper of a hot season.'

[4] Roger Ebert's review is a classic example of his use of the 'Idiot Plot' terminology.

[5] The phrase 'cliché-ridden script' is often misattributed. It appears in a 2006 Guardian article quoting an anonymous internet reviewer, not the original Variety review.

[6] Sheila Benson did praise the film's smarts and handling of the era's tragedies, but the specific 'social commentary' label is more common in modern retrospective reviews (e.g., 30th anniversary pieces).

[7] Desson Thomson (Washington Post) criticized the anachronistic music in the finale.

#O MISSED POINTS & OVERSIGHTS

Low

Janet Maslin's Review

Some sources suggest Janet Maslin (NYT) also wrote a negative review or was critical, contrasting with Canby's mixed-positive take. Including this would highlight the polarization even within the same publication.

#C RELATED QUERIES

#01 What was the specific content of the 1987 Variety review for Dirty Dancing?

#02 Did Janet Maslin review Dirty Dancing for the NYT in 1987?

#S SOURCES

lemon8-app.com latimes.com youmustrememberthispodcast.com filmsite.org anchor.fm 80smovieguide.com

#R ORIGINAL AI RESPONSE

▼

At the time of its release on August 21, 1987, *Dirty Dancing* was a massive "sleeper hit" that defied the low expectations of industry insiders and received a polarized but ultimately career-making reception from critics. ### **1. Initial Industry Skepticism** The film was famously a "hit that almost wasn't." Produced by the small independent studio **Vestron Pictures** on a modest **$6 million budget**, it was initially rejected by every major studio. Test screenings were so poor that a producer allegedly suggested they "burn the negatives and take the insurance." Vestron originally planned to release the film in theaters for only one weekend before sending it straight to the then-booming home video market. ### **2. Critical Reception: Mixed to Positive** While the film became a cultural phenomenon, critics at the time were divided between those who loved its energy and those who found its plot derivative. * **The New York Times (Vincent Canby):** Canby gave a largely positive review, praising the "drive and pulse" of the dancing. He noted that while the story was a "standard-model" summer romance, the choreography by Kenny Ortega gave the film real excitement. * **The Los Angeles Times (Sheila Benson):** Benson called it the "sweet sleeper of a hot season," describing it as "smart and funny, touching and unabashedly sensual." She specifically praised director Emile Ardolino for making the audience feel the "exhilaration and pure animal pleasure" of dancing. * **Roger Ebert (Chicago Sun-Times):** Ebert famously panned the film, giving it a **"Thumbs Down."** He called it a "tired and relentlessly predictable story" and criticized what he termed the **"Idiot Plot"**—a plot that only exists because the characters are too "idiotic" to talk to each other and clear up simple misunderstandings. However, even in his negative review, he admitted that Swayze and Grey were "great dancers." * **Gene Siskel (Chicago Tribune):** Siskel was slightly more forgiving, giving it a "marginal Thumbs Up." He found Jennifer Grey’s performance and her character’s growth to be the film’s strongest assets. * **Variety:** The industry "bible" gave a mixed-to-positive review, noting the film's "cliché-ridden script" but predicting its success based on the "electric chemistry" between the leads and the appeal of the soundtrack. ### **3. Key Points of Review Detail** * **Chemistry and Performance:** Almost every critic, regardless of their feelings on the script, praised the **chemistry between Patrick Swayze and Jennifer Grey**. Swayze was lauded for his physical grace and "diamond-in-the-rough" magnetism, while Grey was praised for her relatable, "nuanced" portrayal of Baby’s transition into adulthood. * **The Abortion Subplot:** This was a significant point of discussion. At the time, it was rare for a "teen" romance to center its plot on a botched illegal abortion. Some critics found it a jarringly dark addition to a musical, but others, like the *LA Times*, felt it added a "smart" layer of social commentary about the pre-Roe v. Wade era. * **The Soundtrack:** The music was universally cited as the film’s engine. Even negative reviews acknowledged that the songs—a mix of 1960s "oldies" and 1980s pop like "(I've Had) The Time of My Life"—were infectious. Some purists (like Desson Thomson of *The Washington Post*) complained that using 1980s power ballads in a 1963 setting "blew the period feel right off the dance floor." ### **4. Box Office and Cultural Impact** The film's reception by the *audience* far outpaced the critical reviews. * **Word-of-Mouth Success:** After a modest opening weekend of $3.9 million, word-of-mouth caused it to stay in theaters for months. It eventually grossed over **$170 million worldwide** in 1987 alone (over $214 million including re-releases). * **Home Video Milestone:** It became the **first film to sell one million copies on home video**, proving that the "teen girls and their mothers" demographic was a massive, untapped market. * **Accolades:** Despite the "predictable" labels, the film won the **Academy Award for Best Original Song**, and both Swayze and Grey received Golden Globe nominations.

#A DIRECT ANSWER (VERIFIED ANALYSIS)

▼

At the time of its release on August 21, 1987, Dirty Dancing was a sleeper hit that overcame poor test screenings and industry skepticism (Vestron Pictures, $6M budget). Critical reception was polarized: Roger Ebert gave it a 'Thumbs Down' (citing an 'Idiot Plot'), while Gene Siskel gave it a marginal 'Thumbs Up.' The NYT's Vincent Canby praised the dancing's 'drive and pulse,' and the LA Times' Sheila Benson championed it as a 'sweet sleeper.' While the abortion subplot was controversial (causing sponsors to drop out), it was defended by the writer and some critics as necessary context. The film became a massive commercial success ($214M worldwide) and the first movie to sell 1 million copies on home video.

OVERLAY REPORT