These scenes danced the night away. Welcome to MsMojo and today we’ll be counting down our picks for the 50 most iconic, memorable and just plain beloved movie dance scenes of all time!
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00:00:00 "I'm singing and dancing in the rain."
00:00:08 Welcome to Ms. Mojo, and today we'll be counting down our picks for the 50 most iconic,
00:00:13 memorable, and just plain beloved movie dance scenes of all time.
00:00:17 [Music]
00:00:24 Number 50.
00:00:25 Jerry and Gene, Anchors Away.
00:00:27 In this fantasy sequence, Gene Kelly teaches a young king how to find happiness.
00:00:31 "One, two, three, four."
00:00:32 "One, two, three, four."
00:00:33 "One, two, three."
00:00:34 "One, two, three."
00:00:35 "La, la, la, la, la, la."
00:00:36 "La, la, la, la, la, la."
00:00:37 "You see?"
00:00:38 "It's easy!"
00:00:39 The star has to dance and act alongside a cartoon character who isn't actually there,
00:00:44 more than 40 years before Who Framed Roger Rabbit came out.
00:00:47 Coupled with some insanely athletic jumps and spins, only a dancer of Kelly's caliber
00:00:52 could pull off this performance.
00:00:54 [Music]
00:01:05 It's so memorable that showtune aficionado Seth MacFarlane saw fit to parody the scene
00:01:10 in an episode of Family Guy, with Stewie subbing in for Jerry the mouse.
00:01:14 They do say imitation is the sincerest form of flattery.
00:01:18 [Music]
00:01:26 Number 49.
00:01:27 Josephine Baker's shadow routine, Suzu.
00:01:30 "Sit firm.
00:01:31 Sit firm!"
00:01:32 In France in the 1920s and 30s, you couldn't get by without knowing Josephine Baker's
00:01:39 name.
00:01:40 Baker became a huge star in Paris and later became the very first black woman to star
00:01:44 as the protagonist in a big feature film.
00:01:47 She was a wonderful dancer, something she also showed off to great measure in 1935's
00:01:53 Princess Tam Tam.
00:01:54 But today, we want to highlight her brilliant solo performance in Suzu.
00:01:58 [Music]
00:02:10 In the film, Baker performs a partner dance of sorts, but with her shadow instead of another
00:02:15 person.
00:02:16 Her incredible flexibility and agility bring a sense of joy and playfulness to the dance,
00:02:22 making it a delight to watch.
00:02:24 [Music]
00:02:30 Number 48.
00:02:32 The Best Things Happen While You're Dancing, White Christmas.
00:02:35 [Music]
00:02:47 There's just something about Christmas-themed musicals.
00:02:50 In White Christmas, we see the film's two protagonists, played by Bing Crosby and Danny
00:02:55 Kaye, struggle to launch their production company following World War II.
00:02:59 Their journey, of course, includes romantic interests.
00:03:03 Though the film does contain some timeless gems such as choreography and Mandy, sometimes
00:03:08 the more gentle, understated numbers are best.
00:03:11 [Music]
00:03:20 Danny Kaye and Vera Ellen perform The Best Things Happen While You're Dancing with such
00:03:24 elegance and grace.
00:03:26 [Music]
00:03:38 The song speaks of expression through dance, and how it's much stronger than regular communication
00:03:43 for relaying emotions, which is a constant theme in classic musicals in general.
00:03:48 [Music]
00:04:01 Number 47.
00:04:02 Bang Bang, Robin and the Seven Hoods.
00:04:05 This one goes out with a bang.
00:04:07 Robin and the Seven Hoods received mixed reviews at the time.
00:04:10 Looking back at it now, though, we can't deny the musical flick is interesting and
00:04:14 a whole lot of fun, and one particular member of the cast seemed to be having the most fun
00:04:19 out of everyone.
00:04:20 [Music]
00:04:26 Sammy Davis Jr. plays one of the movie's criminals, Will.
00:04:30 In a musical number aptly titled Bang Bang, Will repeatedly fires his weapon in an establishment
00:04:35 while singing and dancing up a storm.
00:04:37 [Music]
00:04:53 At one particularly captivating point, he starts alternating slick tap moves with shooting
00:04:58 out liquor bottles, among other objects.
00:05:01 It's not subtle, but you can't deny he's having a great time.
00:05:04 [Music]
00:05:16 Number 46.
00:05:18 Finale, Black Swan.
00:05:20 Natalie Portman's character Nina goes out with a bang during the finale of Swan Lake.
00:05:24 [Music]
00:05:35 The Russian ballet has served as inspiration for many films, and director Darren Aronofsky's
00:05:40 interpretation required the leads to train for six months.
00:05:43 In the final sequence, Portman's face and movement express Nina's turbulent range
00:05:47 of emotions.
00:05:48 [Music]
00:05:58 At the same time, she embodies Odette, the white swan.
00:06:02 The camera spins around the principal alongside the core dancers, giving the dance number
00:06:06 an appropriately disorienting yet graceful feel.
00:06:09 [Music]
00:06:21 It builds to a climactic end for the show and the film.
00:06:24 Number 45.
00:06:26 I Don't Dance, High School Musical 2.
00:06:29 The High School Musical franchise has some truly iconic dance sequences, from stick to
00:06:34 the status quo to the more underrated "Can I have this dance?"
00:06:38 [Music]
00:06:45 However, one of the most technically impressive numbers comes from the second movie.
00:06:50 I Don't Dance is a baseball number, where Ryan and the drama kids face off with Chad
00:06:55 and the Jocks.
00:06:56 [Music]
00:07:07 Director/choreographer Kenny Ortega said that he, quote, "always loved the merging
00:07:12 of sport and dance," especially with those who weren't used to combining the two.
00:07:16 This plays into the message of the baseball scene, that trying new things can lead to
00:07:21 something great.
00:07:22 [Music]
00:07:31 It's also nice to see Ryan get his time to shine.
00:07:35 Number 44.
00:07:36 Irish Dance, Titanic.
00:07:38 This scene isn't just fun to watch, it's pivotal to the movie.
00:07:42 "I don't know the steps."
00:07:43 "Neither do I, just go with it."
00:07:45 "Don't think."
00:07:47 Rose finds herself right at home among these rowdy third-class passengers.
00:07:51 Despite her own initial hesitation, she discovers that she can hold her own with them
00:07:55 on the dance floor.
00:07:56 [Music]
00:08:05 Now that she's had a taste of this unfamiliar world, this scene is likely the moment
00:08:09 she begins to consider abandoning her first-class lifestyle.
00:08:12 Contrasted with the dull and quiet evening of brandy and cigars in the smoking room,
00:08:16 the party below decks looks like a roaring good time.
00:08:20 [Music]
00:08:27 Number 43.
00:08:28 Ain't My Type of Hype, House Party.
00:08:30 Kid has escaped murderous jerks, the cops, and his angry father to make it to this party.
00:08:35 So when two girls challenge him to a dance battle, he's not about to back down.
00:08:40 By this time, the party is already jumping.
00:08:42 But everyone makes room for this spectacle.
00:08:44 [Music]
00:08:57 Kid's first partner can't cut it, but his best friend play is quick to fill in.
00:09:01 The movie features a style of music and dance that many viewers initially didn't have much exposure to.
00:09:06 [Music]
00:09:16 Since then, it's been recognized as an important part of cinema history.
00:09:20 And there's no doubt that this scene is a highlight.
00:09:23 Number 42.
00:09:25 The Final Tango, Take the Lead.
00:09:26 The Naughties was the golden age of the dance movie,
00:09:30 and Take the Lead managed to do something different with it.
00:09:33 Use the standard urban setting and give it a ballroom twist.
00:09:36 [Music]
00:09:42 Based on a true story, the movie follows a dance teacher, Pierre,
00:09:46 who offers ballroom lessons to the troubled teens at a local high school.
00:09:49 [Music]
00:10:00 In the final competition, Sasha and the boys decide to mix things up a bit.
00:10:04 The guys have been fighting over her throughout the movie,
00:10:07 but this time they all work together.
00:10:09 [Music]
00:10:21 Turning the tango into a trio might get them disqualified,
00:10:25 but this chemistry-fueled routine was totally worth it.
00:10:29 Number 41.
00:10:30 Paso Doble, Strictly Ballroom.
00:10:32 Dancing is Scott's passion, and he wants to dance his own way,
00:10:35 but everyone in his life is pressuring him to conform to the Dancing Federation's strict rules.
00:10:40 Then he meets Fran, who's more open to Scott's inventive, showy style.
00:10:45 Their backstage dance at a competition is incredibly romantic and intimate.
00:10:49 [Music]
00:10:59 But it's their final performance together that's the true showstopper.
00:11:02 [Music]
00:11:14 Federation head Barry Fyfe is determined to stop them from upsetting the status quo
00:11:18 with their original moves, even cutting off the music mid-performance.
00:11:22 But the audience is so smitten with the pair that they clap along to help them finish the dance.
00:11:26 [Music]
00:11:42 Number 40.
00:11:43 Sing, Sing, Sing, Swing Kids.
00:11:45 In 1930s Germany, these young men live to swing,
00:11:49 and Peter will risk everything to keep doing it.
00:11:51 This sequence highlights the contrast between the bright, colorful scenes inside the swing clubs
00:11:56 and the dangerous and oppressive world outside them.
00:11:58 [Music]
00:12:08 The music is fast and loud, the dancers are pouring their hearts into it,
00:12:12 and the energy is off the charts.
00:12:14 Since Peter and his friend Thomas will eventually have conflict
00:12:17 over Thomas's growing loyalty to the Nazi party,
00:12:20 "Peter, you can't save everybody.
00:12:22 There are more important things now. Anytime we could be at war."
00:12:25 "If you side with the Nazis, then we're at war.
00:12:29 You and me, Thomas."
00:12:31 It's swinging moments like these that we latch onto so tightly.
00:12:34 [Music]
00:12:41 Number 39.
00:12:43 The Showcase, Step Up.
00:12:45 The original Step Up is probably the most iconic dance movie of the 2000s,
00:12:49 and there are a lot to choose from.
00:12:51 [Music]
00:13:04 Its memorable dance routines and the unbeatable chemistry between the leads
00:13:08 make it stand out from the crowd.
00:13:10 The movie builds to Nora's senior showcase at the dance school.
00:13:13 [Music]
00:13:23 Although we see snippets of the routine throughout the film,
00:13:26 the final product still blows us away.
00:13:29 The choreography is stunning, and it fits seamlessly with the music.
00:13:33 [Music]
00:13:44 Based on that performance, it's easy to imagine Nora would have her pick of dance companies,
00:13:48 and Tyler would bag his scholarship.
00:13:51 Number 38.
00:13:52 No Dames, Hail Caesar.
00:13:54 There's that Channing Tatum again.
00:13:56 You can't talk about dance in modern film without mentioning Tatum.
00:13:59 From Step Up to Magic Mike, his skills in contemporary genres are well documented.
00:14:04 However, this playful number shows the performer has a knack for tap as well.
00:14:08 [Music]
00:14:17 His character, Burt Gurney, leads a group of men in a routine fit for the 1940s and '50s.
00:14:22 The choreography takes the sailors on top of tables and stools.
00:14:26 [Music]
00:14:35 Tatum himself also glides on the ladder and slides down the bar,
00:14:39 with little regard for the glassware.
00:14:41 Everyone, excluding the bartender and one unlucky fellow,
00:14:45 pair up for a swing-inspired finale.
00:14:48 This number has fancy footwork and physical comedy.
00:14:51 What else could you want?
00:14:52 [Music]
00:15:05 Number 37.
00:15:07 Take Off With Us, All That Jazz.
00:15:09 Bob Fosse wasn't exactly known for directing feel-good movie musicals.
00:15:13 Welcome, welcome aboard Aeronica.
00:15:18 The semi-autobiographical All That Jazz finds him taking this hip-thrusting choreography
00:15:23 to new and erotic extremes.
00:15:25 During a private rehearsal for his new show's investors,
00:15:28 Fosse's stand-in character, Joe Gideon, shocks everyone
00:15:31 with a dance number that starts out innocently enough.
00:15:34 That is, until the clothes come off.
00:15:36 [Music]
00:15:40 Then things turn into an all-out ritualistic and erotic free-for-all set to music.
00:15:45 Fosse's X-rated, in-flight video-themed choreography
00:15:48 is as technically demanding and tongue-in-cheek as his best work.
00:15:52 [Music]
00:15:55 It's also downright pornographic,
00:15:57 and the offended producers can't help but sit with their jaws on the floor.
00:16:01 Number 36.
00:16:03 The Red Blues, Silk Stockings.
00:16:05 [Music]
00:16:17 Choreographing large ensemble numbers can be tough,
00:16:20 but in Silk Stockings, Eugene Loring and Hermes Pan had it down to an art.
00:16:25 The Red Blues is the big number in the film,
00:16:27 consisting of a bunch of characters lamenting about the ways
00:16:30 in which communism has stymied their creative lives.
00:16:33 [Music]
00:16:41 The funniest bits of choreo involve dancers freezing in place
00:16:44 when important leaders walk through the door.
00:16:46 But the highlight is the dance's final moments,
00:16:49 where Sid Charisse finally takes a whirl on the floor.
00:16:52 The camera follows her as she dances with numerous partners,
00:16:55 each step more beautiful than the last.
00:16:57 [Music]
00:17:08 Number 35.
00:17:10 I Like Myself, It's Always Fair Weather.
00:17:13 Gene Kelly had so many iconic performances in his career,
00:17:16 it's hard not to put them all on our list.
00:17:19 [Music]
00:17:34 His character Ted's life hasn't gone the way he thought it would,
00:17:37 but when a beautiful and successful young woman falls for him,
00:17:40 he realizes he might not be such a bad guy after all.
00:17:44 [Music]
00:17:54 His feelings inspired this song and tap performance,
00:17:57 which Kelly incredibly performs on roller skates.
00:18:01 Although it's not his most recognizable dance,
00:18:03 it's definitely one of his most challenging.
00:18:06 It seems like there was nothing this star couldn't do.
00:18:09 [Music]
00:18:23 Number 34.
00:18:24 Let's Say It With Firecrackers, Holiday Inn.
00:18:27 This one's explosive, folks.
00:18:29 Leave it to Fred Astaire to brighten up our days.
00:18:32 "There's a queue. Don't fail me, keep 'em flying."
00:18:35 "I'll keep 'em flying."
00:18:36 In Holiday Inn, Astaire stars as one heck of a song and dance man.
00:18:40 When his partner doesn't show for a 4th of July performance,
00:18:43 he's forced to get creative.
00:18:45 [Music]
00:18:56 In true Astaire fashion, he uses this unexpected element
00:19:00 as both accompaniment and partner to create a truly unforgettable number.
00:19:04 His mesmerizing performance is punctuated by pops and bangs,
00:19:08 keeping Astaire and the audience on their toes.
00:19:11 The snap of the firecrackers are just as potent as the tap of his shoes.
00:19:15 [Music]
00:19:23 Number 33.
00:19:24 Who's Got The Pain, Damn Yankees.
00:19:27 [Music]
00:19:34 Americans love their baseball.
00:19:36 In 1958's Damn Yankees represents this pretty well.
00:19:40 It tells the story of an ordinary man who makes a deal with the devil
00:19:44 to lead his favorite baseball team, the perpetually losing Washington Senators,
00:19:48 to victory.
00:19:49 The most recognized scene is, of course, whatever Lola wants.
00:19:53 [Music]
00:19:59 Another impressive, yet often overlooked number is Who's Got The Pain,
00:20:04 in which fans of the Senators celebrate their impromptu road to victory.
00:20:08 [Music]
00:20:16 Bob Fosse and Gwen Verdon take the stage to perform a dance number reminiscent of vaudeville.
00:20:21 It's energetic, humorous, and lots of fun.
00:20:24 Good luck getting that tune out of your head.
00:20:27 [Music]
00:20:36 Number 32.
00:20:37 The Dance In The Rain, Step Up 2, The Streets.
00:20:40 While the finale of the first Step Up is a school showcase,
00:20:43 the second movie takes dancing back to the streets, per the title.
00:20:47 Andy and her band of dance school misfits create their own crew and enter an illegal competition.
00:20:53 [Music]
00:21:02 Their final number literally takes place out in the street.
00:21:06 Andy's old crew are their rivals and set the bar high with a dynamic and complex routine.
00:21:12 It looks like they're the better dancers, but the MSA crew have a crucial advantage.
00:21:17 The rain makes everything look so much cooler.
00:21:20 [Music]
00:21:32 The power doesn't just come from the sequence itself,
00:21:35 but also from the whole atmosphere of the moment.
00:21:38 Number 31.
00:21:39 Time Warp, The Rocky Horror Picture Show.
00:21:42 It's the creepiest dance party you've ever been to,
00:21:45 but at least the dance is kind of easy.
00:21:47 [Music]
00:21:53 When Brad and Janet are stranded down the road from the gothic castle of one Dr. Frankenfurter,
00:21:58 they really just need to use a phone.
00:22:00 What they get is the funnest and most unsettling novelty dance in all of cinema.
00:22:05 It's just a jump to the left.
00:22:09 [Music]
00:22:13 They stumble upon a party full of very strange people who introduce them to the time warp.
00:22:18 Wild, frenetic, and endlessly bizarre, the sequence has become the movie's calling card.
00:22:24 Though the movie didn't make a mainstream impact right away,
00:22:27 fans have been doing the time warp at midnight showings ever since.
00:22:30 [Music]
00:22:37 Number 30.
00:22:38 Cooper's Ballet, Center Stage.
00:22:41 Dance movies often love to mix the classical with the contemporary,
00:22:45 but in Center Stage, this fusing of styles creates some tension.
00:22:49 [Music]
00:22:52 I could work on it.
00:22:54 You do that.
00:22:56 Moving on.
00:22:57 Star dancer Cooper and company director Jonathan Clash
00:23:00 when Cooper decides to choreograph a ballet to a rock and pop soundtrack.
00:23:04 [Music]
00:23:13 There's quite a bit of relationship drama going down too,
00:23:16 since Cooper's ex Kathleen left him for Jonathan.
00:23:19 The story of the dance, of course, explores this love triangle.
00:23:23 Even out of context, though, it's something special.
00:23:26 [Music]
00:23:37 The three principal roles in the number are all played by professional ballet dancers,
00:23:41 and the quality of both the routine and the movements themselves is beautiful to watch.
00:23:47 Number 29.
00:23:48 You Should Be Dancing, Saturday Night Fever.
00:23:51 This solo dance by John Travolta has come to represent the disco era like no other.
00:23:56 [Music]
00:24:01 As Tony Manero, the excessively limber patron of New York's 2001 Odyssey disco,
00:24:07 the actor cemented many of the character's stylish moves into the public memory of the 1970s.
00:24:12 Even if you haven't seen the movie, you'll know the choreography.
00:24:16 [Music]
00:24:22 Travolta insisted on doing his own dancing for the movie,
00:24:25 and trained for three hours every day in preparation for the movie's many dance sequences.
00:24:30 Given the movie's immense popularity and his Oscar nomination,
00:24:33 it's safe to say his hard work paid off.
00:24:36 [Music]
00:24:43 Number 28.
00:24:44 Broom Dance, Breakin'.
00:24:46 Award winners don't push brooms.
00:24:49 Oh yeah, why don't you go out and sweep, man?
00:24:51 Who do you think you are anyway, Fred Astaire?
00:24:53 Not only is Breakin' filled with impressive choreography,
00:24:56 but it holds a special place in the 80s dance movie zeitgeist,
00:25:00 much like the 1984 hip-hop flick Beat Street.
00:25:03 Anyway, one of Breakin'''s most defining moments was Turbo's dance with a broom.
00:25:07 [Music]
00:25:17 Michael "Boogaloo" Shrimp Chambers' moves are magnetic,
00:25:20 and his control as he isolates various body parts seems almost superhuman.
00:25:24 Speaking of extraordinary performances,
00:25:26 we'd be remiss not to at least mention his ceiling dance in the sequel.
00:25:30 But the gravity and logic-defying broom dance remains in a league of its own to this very day.
00:25:35 We have no doubt it will continue to leave audiences in awe for generations to come.
00:25:40 [Music]
00:25:48 Number 27.
00:25:50 The Angry Dance.
00:25:51 You know the one.
00:25:52 Billy Elliot.
00:25:53 A young Jamie Bell stars as the eponymous Billy in the breakout British movie that became a hit musical.
00:25:59 In 1980s northeast England, dancing wasn't something that boys did.
00:26:04 "Lads do football or boxing or wrestling.
00:26:13 Not friggin' ballet."
00:26:16 But Billy has a talent, and he's not prepared to give up on his dream.
00:26:20 In this scene, a family argument breaks out and Billy's frustration builds.
00:26:24 [Music]
00:26:32 This might not be a musical, but the angry tap dance that follows is impromptu and very public.
00:26:39 Billy dances through the streets, channeling his rage and frustration through dance.
00:26:44 [Music]
00:26:56 The upbeat music, Bell's fierce, heartbreaking acting turn, and the simple ferocity of the dance itself are a killer combination.
00:27:04 The scene became the movie's most memorable image.
00:27:08 Number 26.
00:27:10 Begin the Beguine.
00:27:11 Broadway Melody of 1940.
00:27:13 Although they were two of the most popular dancers in Hollywood throughout the 1930s,
00:27:17 this is the only movie that Eleanor Powell and Fred Astaire danced in together.
00:27:22 And while they share the stage several times throughout, this climactic scene features the most intense and intricate choreography.
00:27:29 [Music]
00:27:39 These are two masters of rhythm, playing with synchronization and syncopation like they're composing a piece of music.
00:27:46 Powell and Astaire are so perfectly matched in terms of talent that they often seem to be generating a single sound.
00:27:52 Even in alternation, it's hard to tell where one ends and the other begins.
00:27:56 [Music]
00:28:10 Their smooth footwork and easy demeanors could almost fool you into thinking this comes easily.
00:28:15 But no one is likely to ever match these titans of tap.
00:28:19 [Music]
00:28:25 Number 25.
00:28:27 Prove Me Wrong.
00:28:28 White Nights.
00:28:29 What's better than having one dance icon leading a movie?
00:28:32 Two of them, of course.
00:28:33 White Nights combined the unrivaled talents of ballet giant Mikhail Baryshnikov and tap dancing legend Gregory Hines.
00:28:40 [Music]
00:28:50 The film follows two people from vastly different backgrounds who find common ground through their passion for dance.
00:28:56 This sequence encapsulates just that.
00:28:58 The pair move in perfect unison, but it's also clear that each brings a unique flair and slightly different feel to the choreography.
00:29:05 [Music]
00:29:11 Hines shared that the film was a collaborative effort, with both using their opposing backgrounds to bring out the best in each other.
00:29:17 We don't need to tell you that the payoff was tremendous.
00:29:20 Just watch for yourselves.
00:29:22 [Music]
00:29:33 Number 24.
00:29:35 Rich Man's Frugue.
00:29:36 Sweet Charity.
00:29:37 With Sweet Charity, the iconic choreographer Bob Fosse, who also directed the flick, cemented himself as a movie musical legend.
00:29:45 [Music]
00:29:55 While this 1969 film's most famous number is probably its opening, Big Spender, we wanted to shout out something a little different.
00:30:02 The Rich Man's Frugue is a roughly nine minute long sequence, but blows by in a whirlwind of Fosse's signature jazzy style.
00:30:09 [Music]
00:30:15 The choreography is marked by angles and fast, sharp movements that lend a sense of urgency to the dance.
00:30:21 Yet somehow, those quick changes feel impossibly languid and sexy.
00:30:25 [Music]
00:30:33 Fosse's impeccable direction only lends to the kinetic pace of the piece.
00:30:37 Number 23.
00:30:39 The Girl Hunt Ballet.
00:30:40 The Bandwagon.
00:30:41 What better way to tell a murder mystery than with a ballet?
00:30:44 Add in a noir-soaked Fred Astaire voiceover, and you've got us hooked.
00:30:49 I can smell trouble a mile off.
00:30:51 And this poor kid was in trouble.
00:30:53 Big trouble.
00:30:54 The ballet follows a detective as he tries to uncover the connection between two mysterious women and a murder that's occurred.
00:31:01 Citcherie stars as both femme fatales, one blonde and seemingly innocent, the other dangerous and enticing.
00:31:08 She was bad.
00:31:09 She was dangerous.
00:31:11 I wouldn't trust her any farther than I could throw her.
00:31:14 She was selling hard, but I wasn't buying.
00:31:17 The action follows Astaire's detective through multiple glorious set pieces, including an acrobatic dance fight with prop guns and an unbelievably sexy duet with Cherise in a smoke-filled bar.
00:31:29 [Music]
00:31:42 Number 22.
00:31:43 The Ballet of the Red Shoes.
00:31:45 The Red Shoes.
00:31:46 "Why do you want to dance?"
00:31:48 [Music]
00:31:52 "Why do you want to live?"
00:31:53 Sometimes, choreography and cinema come together to create something that can only be achieved through the power of film.
00:31:59 Though some dance experts were critical of The Red Shoes when it was initially released in 1948, looking back at the film now, it's hard to fault it.
00:32:08 That magical quality that some critics found too unrealistic is what makes the ballet at the center of it all one of cinema's finest.
00:32:15 [Music]
00:32:25 It was choreographed almost entirely by Robert Helpman, who also had a role in the film, but Léonide Massin, who played the quirky and pivotal shoemaker, was given license to come up with his own moves.
00:32:36 [Music]
00:32:45 Number 21.
00:32:46 Too Darn Hot.
00:32:47 Kiss Me Kate.
00:32:48 Showgirl Lois Lane rolls in like a heatwave to audition for a role in Fred Graham and Cole Porter's new show, and the temperature only goes up once her feet get moving.
00:32:58 [Music]
00:33:08 Ann Miller was known for her crazy fast tap dancing, and this is one of the finest examples of what she could really do.
00:33:14 She leaves no corner of the screen unscorched as she ranges around the set with effortless ease.
00:33:20 Meanwhile, a rhythmic section of the piece really allows the audience to appreciate her speed and clarity.
00:33:25 [Music]
00:33:37 In a movie filled with strong performances, this number is a highlight, and one that few people would be able to replicate even half as well.
00:33:45 Needless to say, Lois gets the part.
00:33:48 "Delightful."
00:33:49 "Gee, thanks, honey. How was I, Mr. Porter?"
00:33:51 "Wonderful."
00:33:52 Number 20.
00:33:53 Step in Time.
00:33:54 Mary Poppins.
00:33:55 If you thought all a chimney sweep is good for is to, well, sweep the chimney, think again.
00:34:00 Mary Poppins is probably best remembered for its celebrated tunes and innovative use of animation.
00:34:05 [Music]
00:34:15 But with this pick, we want to honor the film's choreography, particularly the athletic prowess of the chimney sweeps.
00:34:21 [Music]
00:34:32 Led by Dick Van Dyke, during Step in Time, they jump, flip, and kick their way all over the rooftop.
00:34:38 Even though this particular moment in Mary Poppins doesn't include any actual cartoons, every actor still has that perfectly over-the-top energy.
00:34:46 [Music]
00:34:51 "Over the rooftop!"
00:34:52 [Music]
00:34:55 The dance number is so lively, it feels like it's picking up speed by the second.
00:34:59 [Music]
00:35:11 The whole thing makes our heads whirl as fast as Mary Poppins'.
00:35:14 Number 19.
00:35:15 You're All the World to Me.
00:35:17 Royal Wedding.
00:35:18 Usually when we say the phrase "dancing on the ceiling," we don't mean literally,
00:35:22 but in the case of Fred Astaire, we actually do mean what we say.
00:35:26 [Music]
00:35:36 Royal Wedding is about two performing siblings played by Astaire and Jane Powell.
00:35:40 Throughout the movie, both characters fall in love.
00:35:42 In Astaire's case, that sends him walking on air.
00:35:45 [Music]
00:35:54 Being filled with joy at the prospect of romancing a woman who has as much passion for dance as him,
00:36:00 gives Astaire's character a magical presence.
00:36:02 He looks just as good moving on the floor as he does on the walls as he does on the ceiling.
00:36:07 It's a feat of dancing and technical filmmaking as well.
00:36:11 [Music]
00:36:25 Number 18.
00:36:26 You Can't Stop the Beat.
00:36:28 Hairspray.
00:36:29 Every song and dance sequence from Hairspray is big, bright, and beautiful,
00:36:34 but You Can't Stop the Beat has to be our favorite.
00:36:37 At the beginning of the film, the Corny Collins show is segregated.
00:36:40 [Music]
00:36:51 However, when Seaweed's sister Lil' Inez unofficially enters the live TV dance competition,
00:36:57 she wins by a landslide of call-in votes.
00:37:00 [Music]
00:37:09 The winner gets to be head dancer, so the Corny Collins show officially becomes integrated.
00:37:14 In the final moments, everyone gets on the floor to join in and celebrate.
00:37:18 From John Travolta's Edna to Queen Latifah's Motormouth Maybel.
00:37:22 [Music]
00:37:34 The feel-good finale is full of fast, fun dance moves and will totally make you want to join in on the festivities.
00:37:41 Number 17.
00:37:43 Fame. Fame.
00:37:44 [Music]
00:37:50 If you're anything like us, you only need to hear the opening beats to this song
00:37:54 and you're grabbing your leotard and leg warmers and heading out to the street.
00:37:58 This scene proves that you don't need slick and meticulous choreography to create an unforgettable and legendary dance moment.
00:38:04 [Music]
00:38:12 "Oh, that's me!"
00:38:13 Indeed, Irene Cara's iconic tune literally stops traffic as the students rush into the busy New York roads
00:38:20 and move in whatever way the music compels them to.
00:38:23 Apparently, it took three days to shoot and they closed half of Central Manhattan to get it done.
00:38:28 [Music]
00:38:33 Yet it looks totally spontaneous, feels electric and oozes fun.
00:38:37 The number practically defines this generation of the dance genre and we have no doubt its legacy will live forever.
00:38:44 Number 16.
00:38:46 The audition. Flashdance.
00:38:48 Remember when Alex dances to "He's a Dream" early on in the film?
00:38:51 That iconic bit with the chair?
00:38:53 [Music]
00:39:03 The innovative choreography goes so hard that we didn't think they could ever top it.
00:39:07 But then came Alex's audition and we were left feeling like we'd just been doused in water.
00:39:12 She sets herself apart from the other auditionees with an upbeat jazzy routine to Irene Cara's "What a Feeling."
00:39:18 [Music]
00:39:30 It combines ballet, jazz, contemporary steps and even a little breakdancing.
00:39:36 Is it any wonder that the panel loses its composure as the routine builds momentum?
00:39:40 [Music]
00:39:51 This dance changed the face of musical movie history and became a pop culture phenomenon.
00:39:56 Number 15.
00:39:58 Cheek to Cheek. Top Hat.
00:40:00 Ginger Rogers and Fred Astaire danced together many times throughout the 1930s and 40s.
00:40:05 But this romantic duet is one of their most beloved for good reason.
00:40:09 [Music]
00:40:22 The scene starts out with a simple slow dance.
00:40:24 It then transitions to a series of more complex synchronized moves
00:40:28 that represent the complicated feelings the characters are developing for each other.
00:40:32 [Music]
00:40:45 The grace and fluidity in the performance is gorgeous.
00:40:48 Even if you're talented enough to pull it off, you still have to find a partner who can keep up.
00:40:53 And remember, one of you has to do everything backward and in heels.
00:40:58 [Music]
00:41:14 Number 14. Another Day of Sun. La La Land.
00:41:18 Emma Stone and Ryan Gosling more than proved their dancing capabilities throughout the modern movie musical.
00:41:23 [Music]
00:41:35 In fact, they do so on more than one occasion.
00:41:38 However, the film's best group routine happens to be one that doesn't include the romantic leads.
00:41:43 [Music]
00:41:54 In the opening number, drivers caught in a traffic jam leave their vehicles to dance among the parked cars.
00:42:00 The electric choreography is a collection of different styles,
00:42:03 reflecting the diverse group of people that call Los Angeles home
00:42:06 and flawlessly spotlighting their desire to succeed.
00:42:09 [Music]
00:42:20 Thanks to just a few cleverly hidden cuts, we feel like we're watching one long shot,
00:42:25 which makes the routine all the more memorable.
00:42:28 It's completely unique and also perfectly embodies the spirit of LA.
00:42:32 [Music]
00:42:43 Number 13. Opening. A Chorus Line.
00:42:46 So far, we've seen the intensity and talent that can take place in front of the camera.
00:42:50 Let's take a step behind the scenes for a moment.
00:42:53 [Music]
00:43:03 1985's A Chorus Line opens on a massive Broadway audition,
00:43:07 where multiple dancers perform their hearts out in the hopes they'll get a callback.
00:43:11 As the sequence goes on, we get to see how talented everyone is,
00:43:15 but also how fast-paced and extreme the audition lifestyle is.
00:43:19 [Music]
00:43:31 As each group of dancers takes the stage, a man screams directions to them over the music,
00:43:36 calling out moves as loudly as possible.
00:43:39 The sequence really puts into perspective just how fiercely competitive the industry can be.
00:43:44 [Music]
00:43:56 Number 12. Bottle Dance. Fiddler on the Roof.
00:43:59 As the characters come together for the wedding of Tzaytl and Motl,
00:44:02 the men of the village perform a traditional bottle dance.
00:44:06 [Music]
00:44:13 The celebratory dance features four men balancing bottles on their hats as they cross the room,
00:44:18 sweeping their legs with incredible grace and precision.
00:44:21 The dance is so authentic that many viewers believed it was a traditional Jewish folk dance,
00:44:26 but that actually isn't the case.
00:44:28 [Music]
00:44:35 While based on some Orthodox Jewish wedding celebrations he attended,
00:44:39 it's mostly a creation of the original musical's director-choreographer Jerome Robbins.
00:44:44 As captured on film, the sequence is just as electrifying as it is on stage.
00:44:49 [Music]
00:44:56 Number 11. Everyone Gets Foot Loose. Foot Loose.
00:45:00 For a movie set in a small town that's banned everything from ballroom swaying to toe-tapping,
00:45:04 it was surprisingly hard to choose just one standout dance scene.
00:45:08 [Music]
00:45:15 No one does angry dancing quite like Ren,
00:45:18 and watching him teach Willard some moves was also pretty memorable.
00:45:21 Still, nothing beats the teen's excitement when they finally let loose at the prom.
00:45:26 [Music]
00:45:34 Everyone really brings it, and each moment's joyously euphoric.
00:45:38 You can imagine audiences back in 1984 jumping to their feet in packed theaters and grooving along.
00:45:44 [Music]
00:45:55 Even the most reluctant of dancers can't help but be figuratively, and literally, moved by the vibes in this scene.
00:46:02 [Music]
00:46:13 Number 10. You're the One That I Want, We Go Together.
00:46:16 Grease. The last five minutes of Grease forgoes most of the dialogue,
00:46:20 and instead treats us to the entire cast singing, dancing, and gyrating their way across a school carnival.
00:46:26 [Music]
00:46:31 From shaking things up on the shake shack to the nonsense lyrics of We Go Together,
00:46:35 it's an energetic and joyous ending to the movie and the characters' high school experience.
00:46:40 [Music]
00:46:45 It's not just a curtain call for the speaking characters,
00:46:48 but a showcase for the incredible dancers that make up the movie's ensemble.
00:46:51 [Music]
00:46:56 Especially Green Shirt Guy.
00:46:58 Has anyone ever had a better time than Green Shirt Guy?
00:47:01 Number 9. America, West Side Story.
00:47:04 One of the best musicals around, the original movie version of West Side Story is renowned for its choreography.
00:47:10 [Music]
00:47:22 While we love the changes that the 2021 movie adaptation makes,
00:47:26 there's something special about the original America.
00:47:29 And we don't just mean Rita Moreno's iconic purple dress.
00:47:32 We could have gone with the 1961 version of Cool, an action-packed and dynamic force of nature.
00:47:38 [Music]
00:47:47 But failing to mention the joy and life that propels America forward would be a misgiving on our part.
00:47:53 [Music]
00:48:05 The ensemble performance is second to none, and Moreno adds a whole lot of power to the number.
00:48:10 Watching her twirl her way around the set is watching a star in motion.
00:48:14 [Music]
00:48:23 Number 8. I've Had the Time of My Life, Dirty Dancing.
00:48:27 Few dances from 80s movies stand out as much as this show-stopping finale.
00:48:31 And no, not just because of that famous lift.
00:48:34 [Music]
00:48:41 Cinematographers Kenny Ortega and Doriana Sanchez combined several dance styles to create their signature dirty dancing moves.
00:48:47 The routine appears during the film's climax when Baby finally comes into her own,
00:48:51 and shows everyone that she can really strut her stuff.
00:48:55 The fluidity and sensualness of the steps, combined with Johnny and Baby's fiery chemistry,
00:49:00 made this a timeless moment beloved by generations.
00:49:03 [Music]
00:49:13 We're not embarrassed to admit that we've tried replicating their moves.
00:49:16 Just point us at the nearest lake and we'll even give that lift a go.
00:49:20 Any volunteers to catch us?
00:49:21 [Music]
00:49:31 Number 7. The Ballet, An American in Paris.
00:49:34 [Music]
00:49:42 When Gene Kelly decides to call a number "That's Entertainment," you best believe he means it.
00:49:47 An American in Paris is a 1951 classic musical choreographed entirely by Kelly,
00:49:52 and includes one of his most ambitious pieces ever.
00:49:56 The ballet at the end of the film crosses over numerous sets, has tons of extras,
00:50:01 and showcases complex and unique choreography that took the world by storm.
00:50:05 [Music]
00:50:19 At one point, the dance changes from a jaunty, colorful tap number
00:50:22 to a swooningly romantic ballet in the snap of a finger.
00:50:26 Kelly takes audacious leaps with his choreography here, both figuratively and literally.
00:50:31 [Music]
00:50:47 Number 6. The Lindy Hop, Hell's a-Poppin'.
00:50:50 "This thing might turn into something. I'm mistaken, here comes something now."
00:50:55 You might think this footage has been sped up, but it hasn't. They're really moving that fast.
00:51:01 Whitey's Lindy Hoppers were a group of professional swing dancers who came out of the Harlem Renaissance.
00:51:06 During their heyday, the group toured Europe and the U.S. and appeared in multiple films.
00:51:11 In this scene, some delivery men are dropping off a set of instruments and can't resist testing them out.
00:51:17 [Music]
00:51:22 Other service workers around the property hear them, and soon the party gets going.
00:51:26 The Lindy Hop remains a popular type of swing today, and its influence can be seen all over Hollywood.
00:51:33 [Music]
00:51:44 Number 5. Cell Block Tango, Chicago.
00:51:48 There was a time when movie musicals seemed to be a thing of the past, media that was considered old-fashioned and corny.
00:51:55 [Music]
00:52:08 But then came the 2002 release of Chicago.
00:52:12 The film was directed by Bill Condon with choreography by Rob Marshall, based on Bob Fosse's original Broadway production.
00:52:19 [Music]
00:52:30 Fosse's work was full of dark comedy and spectacular set pieces, and the Oscars started rolling in.
00:52:37 The Cell Block Tango scene is, without a doubt, the movie's standout dance number.
00:52:41 "Now for the last number in our act, we did these 20 acrobatic tricks in a row.
00:52:45 One, two, three, four, five, splits, spread eagles, back flips, flip flops, one right after the other."
00:52:51 Beginning with individuals telling their own stories through song and dance, it ends in a large-scale chorus routine.
00:52:58 The number is funny, unnerving, and thrilling by turn.
00:53:02 [Music]
00:53:14 This is musical storytelling at its best.
00:53:18 As the Kit Kat Club's resident singer Sally Bowles, Liza Minnelli is the essence of vamp beauty.
00:53:26 Mine Hair takes the movie's classic '30s aesthetics and makes them risque and modern.
00:53:31 "You have to understand the way I am, mine hair."
00:53:35 As directed and choreographed by Bob Fosse, the number sees Liza and the scantily clad Kit Kat girls straddling chairs and pounding the floor.
00:53:43 The dark and slinky sensuality, the whimsy of burlesque song and dance, and the smoky atmosphere of the cabaret create a dance number that's equal parts sexy, silly, and unsettling.
00:53:54 "And though I used to care, I need the opening!"
00:53:58 In a movie musical full of memorable numbers, Mine Hair is the one that made all the posters.
00:54:04 [Music]
00:54:12 Number three, Barn Dance, Seven Brides for Seven Brothers.
00:54:16 [Music]
00:54:27 When there are this many moving parts, it's tough to make anything look coherent.
00:54:32 But somehow, the Barn Dance in Seven Brides for Seven Brothers finds a way.
00:54:37 The result, one of the most famous dance sequences ever committed to the silver screen.
00:54:42 [Music]
00:54:50 The choreography is not only athletic as all get out, but incredibly intricate.
00:54:55 It requires perfect steps and placement at all times.
00:54:59 If one thing goes wrong, everything could go wrong.
00:55:02 As the number goes on and things get more buoyant and exciting, it's a miracle these dancers were able to commit this to film history in the way they were.
00:55:11 [Music]
00:55:20 Number two, Singing in the Rain, Singing in the Rain.
00:55:23 It's one of the most epic scenes of all time. How could we ever leave it off?
00:55:27 1952's Singing in the Rain is among the most celebrated musicals of the classic era, and for good reason.
00:55:34 [Music]
00:55:46 There are so many memorable moments, including, of course, the title number.
00:55:51 After parting ways with his love interest Kathy for the night, Kelly's Don walks beaming out into the street.
00:55:57 The rain is falling, but he couldn't care less. He's a man in love after all.
00:56:01 [Music]
00:56:18 Kelly's buoyant, bouncing solo is some of his best work, both as a performer and a co-choreographer.
00:56:24 It's impossible to watch it without smiling just as big as he is.
00:56:29 [Music]
00:56:40 Before we get to our top pick, here are a few honorable mentions.
00:56:43 Xanadu, Xanadu.
00:56:45 Exaggerated moves, bold costumes, and roller skates. Need we say more?
00:56:50 [Music]
00:57:00 You Can Never Tell, Pulp Fiction. Vincent and Mia show off their trophy-worthy twist.
00:57:05 [Music]
00:57:16 All Time Rock and Roll, Risky Business. A dance that's had generations of kids sliding across living room floors.
00:57:23 [Music]
00:57:35 Time After Time, Romy and Michelle's high school reunion.
00:57:38 Romy and Michelle dazzle their peers with homemade dresses and interpretive dance.
00:57:43 [Music]
00:57:54 Detention Dance, The Breakfast Club. Detention isn't so bad when you've got moves like these.
00:57:59 [Music]
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00:58:23 Number 1. Jump and Jive, Stormy Weather.
00:58:27 [Music]
00:58:41 From the moment their tap shoes hit the stage, they're doing moves that most of us could only dream of attempting.
00:58:47 And it just gets wilder from there.
00:58:49 [Music]
00:59:01 Born in 1914 and 1921, respectively, Fayard and Harold Nicholas were entirely self-taught in the arts of singing and dancing.
00:59:10 They started performing professionally as children and proved well into their 60s and 70s that they were still superstars on the dance floor.
00:59:18 The Nicholas Brothers might have been the greatest tap dancers of all time.
00:59:22 And this dance break is one of the most impressive ever put to film.
00:59:26 [Music]
00:59:40 Which of these dance scenes will stick with you for the rest of time? Let us know in the comments.
00:59:45 "Good luck, governor."
00:59:47 Do you agree with our picks? Check out this other recent clip from Ms. Mojo.
00:59:51 And be sure to subscribe and ring the bell to be notified about our latest videos.
00:59:56 [Music]