“A Merchant/Ivory film about Shanghai in the 1930’s is being filmed and they need dancers for the dance hall scenes, are you available?” so read an e-mail that I received while in California in late September. Casting call for the “dance extras” was to be October 8th. I wasn’t returning to Shanghai until the 15th. It broke my heart that I had to reply that as much as I would have loved to do it that I couldn’t make it. I bemoaned the lost opportunity.
The day (Oct.13) I arrived in Beijing (on a brief stop-over on way back to Shanghai) I received a call from a swing-dance teacher I know in Shanghai who opened the door again saying that they were waiting for me to return and that I should contact them as soon as I arrived in Shanghai and I should come to the movie set. And this is the way a new incredible adventure began – on the Day I returned to China.
You can imagine my excitement when I arrived at six am to this old Chinese building complex – up three flights of stairs and into a world of Hollywood sets – a dilapidated old hall partly converted into an elaborate, elegant dance hall – just like the real Paramount Dance Hall here that I keep raving about. I am to contact the choreographer, a women from New York who runs a Ballet/Jazz Company.
To establish a fair expectation I immediately confessed, “I am more of a recreational dance hall dancer than a professional ball room dancers – I really don’t know many ‘official steps’ I just watch and mimic good dancers around me – but I am a ‘quick study’, and I think that I can learn most any thing you want,” that is the way I started. Before it was over I was DOING the choreography… But I get ahead of myself.
She begrudgingly accepted me for trial and sent me on to wardrobe – to be costumed in a 1930’3 vintage tux, starched board shirt and collar, paten leather shoes, vest and all. Then to make up – admittedly there was not much they could do there—certainly with the hair (most of the other extras with any amount of tresses got slicked down Brill Cream ‘swing-era’ dos. I opted out of having a toupee and went with what I had. (In retrospect, I wish I had tried it when else will I ever have such a chance?)
Then to the set—now remember the rest of the dancers have been rehearsing for four days – I don’t even know what kind of music it will be (I only know that my friends here were sure that I could do it). It wasn’t any problem, one swing piece, a rumba, a blues and ? — (I will explain later). By the third session (there were sometimes 30-40 sessions per dance scene), I was moved from the back to the center.
By the second day, I was placed in a scene dancing with the lead actress, Natasha Richardson. We were supposed to be dancing when the male lead, Ralph Fiennes comes and breaks in. I am thinking that this has to be the best chance I have of making it into the movie (I’ll be lucky if a second of the many hours of dance background that we shot makes it).
So here I am trying not to be “too star-struck” dancing with the star of the movie, when the director, James Ivory comes up to me and says, “you are dancing too much, start coming on – be a lecherous old man trying to pick up a dance hall girl,” to which I say, “Oh, I can’t do that.” “Oh, yes you can,” says he.
So now I am to be trying to pick up this beautiful women in a dance hall, not just dancing with her. Well, I had to practice, right? So for the next 10 hours (the filming day is a long one), I had to practice with every beautiful girl on the set, ”I have to practice for this big scene with Natasha, will you help me ? —I have to come on as a letch—and I am not sure how to do that, will you help me?” Is this fun or what? …
Then between each take (and there were 20) I went to friends asking for the best pick up line they had ever heard so I could start our on-film (silent) discussion on a light hearted basis. It usually worked, with Natasha laughing and looking for a retort.
How I became a Hollywood Movie choreographer.
I eluded to another dance tune. The New York choreographer (Karole Armitage) upon hearing a cute little Chinese tune, reacted, “Well I quess that we can’t dance to that.” “Of course we can,” says I, as I begin to move the feet and sway to ’flow’ with the music. “Ok, Maybe we can, says she” “Can you show the rest of us?” So the next thing I know I am orchestrating this troup of dance extras through a spontaneously made-up routine using a cross between a Texas two-step and some basic clog or tap step.
Am I now an assistant film choreographer??
I hardest part of all this so far has been the “walk-ons.” Twice, as part of background activity, I was selected to pass behind or in front of the action being filmed. It was easy enough except when I had to have a lit cigar and actually puff on it for the camera effect. These were absolutely terrible cigars (as if I would know) and with 20-30 takes you are going through a half a dozen in a couple of hours. I almost got sick and lost it.
These Movie People are real People.
Apart from this brief excursion into the fantasy of filmland, I have re-engaged into my “normal” Shanghai life. The other night I went to one of my favorite spots, the “Cotton Club”. After diner at another of my favorite Hot Pot Restaurants, I arrived at this blues/jazz bar with some visiting friends (Niko) from Germany. This is one of my frequent spots, i.e. they know me there. And who do you think was also there? The Directors (Merchant and Ivory), Stars (Fiennes and Richardson) and much of the crew from “White Countess.” And now we are on MY TURF.
What can I say; — we all had a great time. My German friends were amazed, even these “Hollywood-film types” were impressed with our “authentic expression” of spontaneity and joy.
There is one image that I want to capture in writing. — One of the props in the movie for me was the “Taxi Dance” tickets that they used to pay for dances then. I, of course, kept some of them. I also had some in my pocket this night. So I went over to Natasha, presented her with a ticket (as I did on the set) and said, “May I have this dance, here is the ticket.” It caught her by surprise, but she accepted. First me dancing with Natasha, then Fiennes with her. Then all my swing-dance partners with all of them, It was an evening to remember.
From Dis. 3(6) — Nov. 2004 — See The White Countess Album for photos.