Ten Cents A Dance

Ten Cents A Dance is a pre-Code Hollywood film released in 1931, an engrossing story tinged with drama and romance, a window into the era of dance-hall girls and late-night jazzy joints. Starring the celebrated Barbara Stanwyck in the leading role as Barbara O'Neill, this was one of her earliest films and marked the beginning of an illustrious career. The movie also features Ricardo Cortez and Monroe Owsley in significant roles, thereby creating a provocative and engaging dynamic of compelling performances.

Directed by Lionel Barrymore, Ten Cents A Dance offers a vivid portrayal of the social realism of the Prohibition-era, mingling romance, drama, and human self-discovery in a plot that twists and turns with the laws of fate and circumstance. The screenplay is written by Jo Swerling based on an original story by Dorothy Howell, enveloping a bitter-sweet story with no shortage of melodic interludes, snappy dialogues, and stellar performances.

Barbara Stanwyck plays Barbara O'Neill, a beautiful yet world-weary dance hostess. The dance halls of the period often operated on a 'ticket-a-dance' system, hence the movie's title, with each dance costing a dime. The dance hall is depicted as a seedy, slightly risque environment, bustling with an eclectic mix of clientele, adding to the movie’s authenticity and appeal. Within this milieu, Stanwyck delivers a raw and powerful portrayal of a woman struggling to make ends meet, exemplifying strength, sensibility, and resilience. Her performance lends an emotional depth to the movie that stays etched in the audience's minds.

Ricardo Cortez plays Bradley Carlton, a handsome and wealthy regular at the dance hall, which Barbara frequents. The dynamic between Cortez and Stanwyck forms the crux of the narrative, elegantly interleaved with misunderstandings, raw emotions, and a fascinating attraction. On the other hand, Monroe Owsley plays Eddie Miller, Barbara's small-time gambler boyfriend whose unsustainable lifestyle places additional stresses on their already-tumultuous relationship.

The film hits the nail on the head as far as advocacy for women's economic independence goes. It showcases Stanwyck's character as a woman caught between love, duty, and her pursuit of a better life. Her relationship dynamics with both Carlton and Miller offer a glimpse into the societal pressures and expectations of the time. The movie also endeavors to explore class structures and societal disparities while cleverly using dance as a metaphor for the social and personal politics of the characters.

Cinematically, Ten Cents A Dance is truly a gem from the early 30s. Lionel Barrymore's unobtrusive directorial style serves to enhance performances, giving actors the leeway to fully explore and articulate their characters. The cinematography is captivating, with an intriguing play of light and shadow, especially in the interior sequences that echo German expressionism’s aesthetics, thereby creating a mood and environment that reflect the tonality of the narrative.

A key highlight of the movie is its music. The film is interspersed with several musical numbers, noteworthy being the title track "Ten Cents a Dance," offering a pleasing and engaging relief from the heavy drama. The music, scored by Howard Jackson, blends beautifully with the story, enhancing the overall viewer experience.

Compared to modern standards, Ten Cents A Dance may seem a bit melodramatic, but the film is worth watching for its historical depiction of the dance-hall subculture, the portrayal of women's struggle for survival, and the social dynamics of the era. Stanwyck's riveting performance, Cortez's charming allure, and Monroe's convincing portrayal make the movie a fascinating watch. The film contributes to a deeper understanding of socio-economic issues and human relationships in the retrospect of the 1930s, underscoring the spirit of resilience amidst hardship, thus making it an important piece of cinematic history.