Grab your dancing shoes and join us as we count down the most iconic, memorable, and beloved movie dance sequences of all time! From Gene Kelly's gravity-defying moves to the electric energy of modern musicals, we're celebrating the moments that made us want to leap out of our seats and join the action.
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00:00:00I'm singing and dancing in the rain.
00:00:08Welcome to WatchMojo, and today we'll be counting down our picks for the 50 most iconic, memorable, and just plain beloved movie dancings of all time.
00:00:23Number 50. Jerry and Jean, Anchors Away.
00:00:27In this fantasy sequence, Gene Kelly teaches a young king how to find happiness.
00:00:38The star has to dance and act alongside a cartoon character who isn't actually there, more than 40 years before Who Framed Roger Rabbit came out.
00:00:47Coupled with some insanely athletic jumps and spins, only a dancer of Kelly's caliber could pull off this performance.
00:00:57It's so memorable that show-tune aficionado Seth MacFarlane saw fit to parody the scene in an episode of Family Guy, with Stewie subbing in for Jerry the Mouse.
00:01:14They do say imitation is the sincerest form of flattery.
00:01:18Number 49. Josephine Baker's Shadow Routine, Suzu.
00:01:31In France in the 1920s and 30s, you couldn't get by without knowing Josephine Baker's name.
00:01:39Baker became a huge star in Paris, and later became the very first black woman to star as the protagonist in a big feature film.
00:01:46She was a wonderful dancer, something she also showed off to great measure in 1935's Princess Tam-Tam.
00:01:54But today, we want to highlight her brilliant solo performance in Zuzu.
00:01:58In the film, Baker performs a partner dance of sorts, but with her shadow instead of another person.
00:02:16Her incredible flexibility and agility bring a sense of joy and playfulness to the dance, making it a delight to watch.
00:02:24Number 48. The Best Things Happen While You're Dancing, White Christmas.
00:02:35The best things happen while you're dancing.
00:02:41Things that you would not do at home come naturally on the floor.
00:02:46There's just something about Christmas-themed musicals.
00:02:50In White Christmas, we see the film's two protagonists, played by Bing Crosby and Danny Kaye,
00:02:55struggle to launch their production company following World War II.
00:02:59Their journey, of course, includes romantic interests.
00:03:03Though the film does contain some timeless gems such as choreography and Mandy,
00:03:07sometimes the more gentle, understated numbers are best.
00:03:10Danny Kaye and Vera Ellen perform The Best Things Happen While You're Dancing with such elegance and grace.
00:03:26The song speaks of expression through dance,
00:03:40and how it's much stronger than regular communication for relaying emotions,
00:03:45which is a constant theme in classic musicals in general.
00:04:01Number 47. Bang Bang. Robin and the Seven Hoods.
00:04:05This one goes out with a bang.
00:04:07Robin and the Seven Hoods received mixed reviews at the time.
00:04:10Looking back at it now, though, we can't deny the musical flick is interesting and a whole lot of fun,
00:04:16and one particular member of the cast seemed to be having the most fun out of everyone.
00:04:21My kind of prank is walking in a bank and going bang, bang.
00:04:26Sammy Davis Jr. plays one of the movie's criminals, Will.
00:04:29In a musical number aptly titled Bang Bang,
00:04:32Will repeatedly fires his weapon in an establishment while singing and dancing up a storm.
00:04:37At one particularly captivating point, he starts alternating slick tap moves with shooting out liquor bottles,
00:04:59among other objects.
00:05:00It's not subtle, but you can't deny he's having a great time.
00:05:05There's no one I know gets so such a glow out of
00:05:09Bang, bang, like me.
00:05:16Number 46. Finale. Black Swan.
00:05:20Natalie Portman's character, Nina, goes out with a bang during the finale of Swan Lake.
00:05:24The Russian ballet has served as inspiration for many films,
00:05:38and director Darren Aronofsky's interpretation required the leads to train for six months.
00:05:43In the final sequence, Portman's face and movement express Nina's turbulent range of emotions.
00:05:48At the same time, she embodies Odette, the white swan.
00:06:02The camera spins around the principal alongside the core dancers,
00:06:06giving the dance number an appropriately disorienting yet graceful feel.
00:06:09It builds to a climactic end for the show and the film.
00:06:25Number 45. I Don't Dance. High School Musical 2.
00:06:29The High School Musical franchise has some truly iconic dance sequences,
00:06:33from stick to the status quo to the more underrated Can I Have This Dance.
00:06:38However, one of the most technically impressive numbers comes from the second movie.
00:06:51I Don't Dance is a baseball number,
00:06:53where Ryan and the drama kids face off with Chad and the jocks.
00:06:56I'll show you that it's one and the same baseball, dancing, same game.
00:07:01It's easy. Step up to the plate. Start swinging.
00:07:05I want to play ball now and that's all. This is what I do.
00:07:08Director-choreographer Kenny Ortega said that he, quote,
00:07:11always loved the merging of sport and dance,
00:07:14especially with those who weren't used to combining the two.
00:07:17This plays into the message of the baseball scene,
00:07:20that trying new things can lead to something great.
00:07:23Bada, bada, hey, bada, bada, what?
00:07:25One, two, three, four. Everybody swings. Come on!
00:07:27I don't dance. I know you can. Not a chance. No, no.
00:07:32It's also nice to see Ryan get his time to shine.
00:07:36Number 44. Irish Dance. Titanic.
00:07:39This scene isn't just fun to watch, it's pivotal to the movie.
00:07:43I don't know the steps.
00:07:44Neither do I. Just go with it.
00:07:45Uh-huh.
00:07:46Don't think.
00:07:47Rose finds herself right at home among these rowdy third-class passengers.
00:07:51Despite her own initial hesitation,
00:07:54she discovers that she can hold her own with them on the dance floor.
00:08:05Now that she's had a taste of this unfamiliar world,
00:08:08this scene is likely the moment she begins to consider
00:08:11abandoning her first-class lifestyle.
00:08:13Contrasted with the dull and quiet evening of brandy and cigars in the smoking room,
00:08:17the party below decks looks like a roaring good time.
00:08:21Number 43. Ain't My Type of Hype. House Party.
00:08:31Kid has escaped murderous jerks, the cops, and his angry father to make it to this party.
00:08:36So when two girls challenge him to a dance battle, he's not about to back down.
00:08:41By this time, the party is already jumping.
00:08:43But everyone makes room for this spectacle.
00:08:45Kid's first partner can't cut it, but his best friend, Play, is quick to fill in.
00:09:02The movie features a style of music and dance that many viewers initially didn't have much exposure to.
00:09:07Since then, it's been recognized as an important part of cinema history,
00:09:21and there's no doubt that this scene is a highlight.
00:09:24Number 42. The Final Tango. Take the Lead.
00:09:28The Naughty's was the golden age of the dance movie, and Take the Lead managed to do something different with it.
00:09:34Use the standard urban setting and give it a ballroom twist.
00:09:37Based on a true story, the movie follows a dance teacher, Pierre,
00:09:46who offers ballroom lessons to the troubled teens at a local high school.
00:09:50Thank you, Morgan.
00:09:53I'm late.
00:09:56That was amazing. I've never seen anybody move like that.
00:10:01In the final competition, Sasha and the boys decide to mix things up a bit.
00:10:05The guys have been fighting over her throughout the movie, but this time, they all work together.
00:10:12Introducing the best of the best, and when the kick drum kick,
00:10:14and it's in your chest, and then it gets real deep within it.
00:10:16We gonna get them. We shake and vibrate and take the rhythm.
00:10:20Turning the tango into a trio might get them disqualified,
00:10:26but this chemistry-fueled routine was totally worth it.
00:10:29Number 41. Paso Doble. Strictly Ballroom.
00:10:33Dancing is Scott's passion, and he wants to dance his own way,
00:10:36but everyone in his life is pressuring him to conform to the Dancing Federation's strict rules.
00:10:41Then he meets Fran, who's more open to Scott's inventive showy style.
00:10:46Their backstage dance at a competition is incredibly romantic and intimate.
00:10:50But it's their final performance together that's the true showstopper.
00:11:03Federation head Barry Fife is determined to stop them from upsetting the status quo with their original moves,
00:11:20even cutting off the music mid-performance.
00:11:22But the audience is so smitten with the pair that they clap along to help them finish the dance.
00:11:27Number 40. Sing, sing, sing. Swing kids.
00:11:46In 1930s Germany, these young men live to swing, and Peter will risk everything to keep doing it.
00:11:52This sequence highlights the contrast between the bright, colorful scenes inside the swing clubs
00:11:56and the dangerous and oppressive world outside them.
00:11:59The music is fast and loud.
00:12:10The dancers are pouring their hearts into it, and the energy is off the charts.
00:12:15Since Peter and his friend Thomas will eventually have conflict over Thomas' growing loyalty to the Nazi party...
00:12:20Peter, you can't save everybody. There are more important things now. Any time, we could be at war!
00:12:27If you side with the Nazis, then we're at war. You and me, Thomas.
00:12:31It's swinging moments like these that we latch onto so tightly.
00:12:35Number 39. The Showcase, Step Up.
00:12:45The original Step Up is probably the most iconic dance movie of the 2000s, and there are a lot to choose from.
00:12:52It's memorable dance routines and the unbeatable chemistry between the leads make it stand out from the crowd.
00:13:11The movie builds to Nora's senior showcase at the dance school.
00:13:14Although we see snippets of the routine throughout the film, the final product still blows us away.
00:13:29The choreography is stunning, and it fits seamlessly with the music.
00:13:34Based on that performance, it's easy to imagine Nora would have her pick of dance companies, and Tyler would bag his scholarship.
00:13:51Number 38. No Dames. Hail Caesar.
00:13:54There's that Channing Tatum again.
00:13:56You can't talk about dance in modern film without mentioning Tatum.
00:14:00From Step Up to Magic Mike, his skills in contemporary genres are well-documented.
00:14:05However, this playful number shows the performer has a knack for tap as well.
00:14:10Come on!
00:14:17His character, Burt Gurney, leads a group of men in a routine fit for the 1940s and 50s.
00:14:23The choreography takes the sailors on top of tables and stools.
00:14:26I'm gonna dance with you, pal.
00:14:30You're gonna dance with me.
00:14:32When we're out there on the sea, we'll be happy as to be.
00:14:36Tatum himself also glides on the ladder and slides down the bar, with little regard for the glassware.
00:14:42Everyone, excluding the bartender and one unlucky fellow, pair up for a swing-inspired finale.
00:14:48This number has fancy footwork and physical comedy.
00:14:51What else could you want?
00:14:52It's okay!
00:14:54We're so good!
00:14:55We're gonna see you!
00:14:56It's okay!
00:14:57We're so good!
00:14:58We're gonna see you!
00:14:59We're gonna see you!
00:15:01We're gonna see you!
00:15:02We're gonna see you!
00:15:02We're gonna see you!
00:15:06Number 37.
00:15:07Take Off With Us, All That Jazz.
00:15:10Bob Fosse wasn't exactly known for directing feel-good movie musicals.
00:15:14Welcome!
00:15:15Welcome aboard, erotica!
00:15:18The semi-autobiographical All That Jazz finds him taking this hip-thrusting choreography to new and erotic extremes.
00:15:25During a private rehearsal for his new show's investors, Fosse's stand-in character Joe Gideon shocks everyone with a dance number that starts out innocently enough.
00:15:34That is, until the clothes come off.
00:15:37Uh-oh.
00:15:37I think we just lost the family audience.
00:15:40Then things turn into an all-out ritualistic and erotic free-for-all set to music.
00:15:45Fosse's X-rated, in-flight, video-themed choreography is as technically demanding and tongue-in-cheek as his best work.
00:15:55It's also downright pornographic, and the offended producers can't help but sit with their jaws on the floor.
00:16:01Number 36.
00:16:03The Red Blues, Silk Stockings.
00:16:18Choreographing large ensemble numbers can be tough, but in Silk Stockings, Eugene Loring and Hermes Pan had it down to an art.
00:16:25The Red Blues is the big number in the film, consisting of a bunch of characters lamenting about the ways in which communism has stymied their creative lives.
00:16:33We got the Red Blues.
00:16:36We got the Red, Red, Red, that's what we say.
00:16:40Red Blues.
00:16:41The funniest bits of choreo involve dancers freezing in place when important leaders walk through the door.
00:16:47But the highlight is the dance's final moments, where Sid Charisse finally takes a whirl on the floor.
00:16:52The camera follows her as she dances with numerous partners.
00:16:55Each step more beautiful than the last.
00:17:09Number 35.
00:17:11I Like Myself.
00:17:12It's Always Fair Weather.
00:17:13Gene Kelly had so many iconic performances in his career, it's hard not to put them all on our list.
00:17:19This has been a most unusual day.
00:17:25Love has made me see things in a different way.
00:17:35His character Ted's life hasn't gone the way he thought it would, but when a beautiful and successful young woman falls for him, he realizes he might not be such a bad guy after all.
00:17:45My love has got me riding high.
00:17:49His feelings inspired this song and tap performance, which Kelly incredibly performs on roller skates.
00:18:01Although it's not his most recognizable dance, it's definitely one of his most challenging.
00:18:06It seems like there was nothing this star couldn't do.
00:18:09Number 34.
00:18:25Let's say it with firecrackers.
00:18:27Holiday Inn.
00:18:28This one's explosive, folks.
00:18:30Leave it to Fred Astaire to brighten up our days.
00:18:32There's a cue.
00:18:34Don't fail me.
00:18:35Keep them flying.
00:18:36I'll keep them flying.
00:18:37In Holiday Inn, Astaire stars as one heck of a song and dance man.
00:18:41When his partner doesn't show for a 4th of July performance, he's forced to get creative.
00:18:46In true Astaire fashion, he uses this unexpected element as both accompaniment and partner to create a truly unforgettable number.
00:19:05His mesmerizing performance is punctuated by pops and bangs, keeping Astaire and the audience on their toes.
00:19:11The snap of the firecrackers are just as potent as the tap of his shoes.
00:19:23Number 33.
00:19:25Who's got the pain?
00:19:26Damn Yankees.
00:19:34Americans love their baseball.
00:19:36In 1958's Damn Yankees represents this pretty well.
00:19:40It tells the story of an ordinary man who makes a deal with the devil to lead his favorite baseball team, the perpetually losing Washington Senators, to victory.
00:19:49The most recognized scene is, of course, whatever Lola wants.
00:19:53I always get what I aim for.
00:20:00Another impressive, yet often overlooked number is Who's Got the Pain, in which fans of the Senators celebrate their impromptu road to victory.
00:20:08Who's got the pain when they do the mumbo?
00:20:10Who's got the pain when they go out?
00:20:12Who's got the pain when they do the mumbo?
00:20:15I don't know who.
00:20:16Do you?
00:20:16Bob Fosse and Gwen Verdon take the stage to perform a dance number reminiscent of vaudeville.
00:20:22It's energetic, humorous, and lots of fun.
00:20:25Good luck getting that tune out of your head.
00:20:27Number 32, The Dance in the Rain, Step Up 2, The Streets.
00:20:41While the finale of the first Step Up is a school showcase, the second movie takes dancing back to the streets, per the title.
00:20:47Andi and her band of dance school misfits create their own crew and enter an illegal competition.
00:20:54Little buddy, what you want?
00:20:55Some bali.
00:20:56What up?
00:20:56Hey, baby, I got the potion.
00:20:58Take a sip of this and put your back in motion.
00:21:01Little buddy, what you want?
00:21:02Some bali.
00:21:03Their final number literally takes place out in the street.
00:21:07Andi's old crew are their rivals and set the bar high with a dynamic and complex routine.
00:21:12It looks like they're the better dancers, but the MSA crew have a crucial advantage.
00:21:18The rain makes everything look so much cooler.
00:21:33The power doesn't just come from the sequence itself, but also from the whole atmosphere of the moment.
00:21:39Number 31, Time Warp.
00:21:41The Rocky Horror Picture Show.
00:21:43It's the creepiest dance party you've ever been to, but at least the dance is kind of easy.
00:21:48I remember doing the Time Warp.
00:21:53When Brad and Janet are stranded down the road from the gothic castle of one Dr. Frankenfurter,
00:21:58they really just need to use a phone.
00:22:00What they get is the funnest and most unsettling novelty dance in all of cinema.
00:22:06It's just a jump to the left.
00:22:11They stumble upon a party full of very strange people who introduce them to the Time Warp.
00:22:19Wild, frenetic, and endlessly bizarre, the sequence has become the movie's calling card.
00:22:24Though the movie didn't make a mainstream impact right away, fans have been doing the Time Warp
00:22:29at midnight showings ever since.
00:22:30Dance movies often love to mix the classical with the contemporary, but in center stage,
00:22:46this fusing of styles creates some tension.
00:22:52I could work on it.
00:22:54You do that.
00:22:57Moving on.
00:22:58Star dancer Cooper and company director Jonathan clash when Cooper decides to choreograph a ballet
00:23:03to a rock-and-pop soundtrack.
00:23:05I like the feeling you're giving me.
00:23:09Just hold me, baby, and I'm an act to see you.
00:23:13There's quite a bit of relationship drama going down, too, since Cooper's ex-Kathleen left him for Jonathan.
00:23:20The story of the dance, of course, explores this love triangle.
00:23:24Even out of context, though, it's something special.
00:23:27The three principal roles in the number are all played by professional ballet dancers,
00:23:42and the quality of both the routine and the movements themselves is beautiful to watch.
00:23:48Number 29.
00:23:49You Should Be Dancing.
00:23:50Saturday Night Fever.
00:23:52This solo dance by John Travolta has come to represent the disco era like no other.
00:23:57You want to take me higher?
00:23:59There it goes.
00:24:00My woman can't go.
00:24:02As Tony Manero, the excessively limber patron of New York's 2001 Odyssey disco,
00:24:07the actor cemented many of the character's stylish moves into the public memory of the 1970s.
00:24:13Even if you haven't seen the movie, you'll know the choreography.
00:24:16You want to take me higher?
00:24:20Don't break down to my blood.
00:24:22Travolta insisted on doing his own dancing for the movie,
00:24:25and trained for three hours every day in preparation for the movie's many dance sequences.
00:24:30Given the movie's immense popularity and his Oscar nomination,
00:24:34it's safe to say his hard work paid off.
00:24:37Dancing, yeah.
00:24:41Dancing, yeah.
00:24:43Number 28.
00:24:45Broom Dance.
00:24:46Breaking.
00:24:47Award winners don't push brooms.
00:24:49Oh yeah?
00:24:50Why don't you go out and sweep, man?
00:24:52Who do you think you are anyway, Fred Astaire?
00:24:54Not only is Breaking filled with impressive choreography,
00:24:57but it holds a special place in the 80s dance movie Zeitgeist,
00:25:01much like the 1984 hip-hop flick Beat Street.
00:25:04Anyway, one of Breaking's most defining moments was Turbo's dance with a broom.
00:25:07Michael Boogaloo Shrimp Chambers' moves are magnetic,
00:25:21and his control as he isolates various body parts seems almost superhuman.
00:25:25Speaking of extraordinary performances,
00:25:27we'd be remiss not to at least mention his ceiling dance in the sequel.
00:25:31But the gravity and logic-defying broom dance remains in a league of its own to this very day.
00:25:36We have no doubt it will continue to leave audiences in awe for generations to come.
00:25:49Number 27.
00:25:50The Angry Dance.
00:25:52You know the one.
00:25:53Billy Elliot.
00:25:54A young Jamie Bell stars as the eponymous Billy
00:25:57in the breakout British movie that became a hit musical.
00:26:00In 1980s northeast England,
00:26:03dancing wasn't something that boys did.
00:26:05Lads do football, or boxing, or wrestling.
00:26:14Not friggin' ballet.
00:26:17But Billy has a talent,
00:26:18and he's not prepared to give up on his dream.
00:26:21In this scene, a family argument breaks out,
00:26:23and Billy's frustration builds.
00:26:25Stop dreaming of the quiet vibes.
00:26:27Roll through a piece of whippets.
00:26:29Roll leaks.
00:26:29Piss his wages up the wall.
00:26:31Piss his fingers up the wall.
00:26:32Piss his fingers up the wall.
00:26:32This might not be a musical,
00:26:35but the angry tap dance that follows is impromptu and very public.
00:26:40Billy dances through the streets,
00:26:42channeling his rage and frustration through dance.
00:26:44The upbeat music,
00:26:58Bell's fierce, heartbreaking acting turn,
00:27:01and the simple ferocity of the dance itself are a killer combination.
00:27:04The scene became the movie's most memorable image.
00:27:08Although they were two of the most popular dancers in Hollywood throughout the 1930s,
00:27:18this is the only movie that Eleanor Powell and Fred Astaire danced in together.
00:27:22And while they share the stage several times throughout,
00:27:25this climactic scene features the most intense and intricate choreography.
00:27:29These are two masters of rhythm,
00:27:42playing with synchronization and syncopation like they're composing a piece of music.
00:27:46Powell and Astaire are so perfectly matched in terms of talent that they often seem to be generating a single sound.
00:27:52Even in alternation, it's hard to tell where one ends and the other begins.
00:27:57Their smooth footwork and easy demeanors could almost fool you into thinking this comes easily.
00:28:15But no one is likely to ever match these titans of tap.
00:28:19Number 25, Prove Me Wrong, White Nights.
00:28:29What's better than having one dance icon leading a movie?
00:28:32Two of them, of course.
00:28:34White Nights combined the unrivaled talents of ballet giant Mikhail Baryshnikov
00:28:38and tap dancing legend Gregory Hines.
00:28:40The film follows two people from vastly different backgrounds who find common ground through their passion for dance.
00:28:56This sequence encapsulates just that.
00:28:59The pair move in perfect unison,
00:29:01but it's also clear that each brings a unique flair and slightly different feel to the choreography.
00:29:05Heinz shared that the film was a collaborative effort,
00:29:14with both using their opposing backgrounds to bring out the best in each other.
00:29:18We don't need to tell you that the payoff was tremendous.
00:29:21Just watch for yourselves.
00:29:22Hey!
00:29:26Yeah, yeah!
00:29:28Oh!
00:29:29Oh!
00:29:29Oh!
00:29:34Number 24,
00:29:35Rich Man's Frugue, Sweet Charity.
00:29:38With Sweet Charity,
00:29:39the iconic choreographer Bob Fosse,
00:29:41who also directed the flick,
00:29:43cemented himself as a movie musical legend.
00:29:45Let me show you a...
00:29:46Good time!
00:29:48Hey, Big Spender!
00:29:53Hey, Big Spender!
00:29:56While this 1969 film's most famous number
00:29:58is probably its opening Big Spender,
00:30:00we wanted to shout out something a little different.
00:30:03The Rich Man's Frugue
00:30:04is a roughly nine-minute-long sequence,
00:30:06but blows by in a whirlwind of Fosse's signature jazzy style.
00:30:15The choreography is marked by angles
00:30:17and fast, sharp movements
00:30:19that lend a sense of urgency to the dance.
00:30:21Yet somehow,
00:30:22those quick changes feel impossibly languid and sexy.
00:30:25Oh!
00:30:26Oh!
00:30:27Give me yeah!
00:30:28Yeah!
00:30:29Oh!
00:30:30Oh!
00:30:30Yeah!
00:30:31Oh!
00:30:31Yeah!
00:30:32Oh!
00:30:32Yeah!
00:30:34Fosse's impeccable direction
00:30:35only lends to the kinetic pace of the piece.
00:30:38Number 23,
00:30:39The Girl Hunt Ballet,
00:30:40The Bandwagon.
00:30:42What better way to tell a murder mystery
00:30:43than with a ballet?
00:30:45Add in a noir-soaked Fred Astaire voiceover
00:30:47and you've got us hooked.
00:30:49I can smell trouble a mile off.
00:30:52And this poor kid was in trouble.
00:30:54Big trouble.
00:30:55The ballet follows a detective
00:30:56as he tries to uncover the connection
00:30:58between two mysterious women
00:31:00and a murder that's occurred.
00:31:02Ced Cherie stars as both femme fatales,
00:31:04one blonde and seemingly innocent,
00:31:06the other dangerous and enticing.
00:31:08She was bad.
00:31:10She was dangerous.
00:31:11I wouldn't trust her any farther
00:31:13than I could throw her.
00:31:14She was selling hard,
00:31:16but I wasn't buying.
00:31:18The action follows Astaire's detective
00:31:20through multiple glorious set pieces,
00:31:22including an acrobatic dance fight
00:31:24with prop guns
00:31:25and an unbelievably sexy duet
00:31:27with Cherise in a smoke-filled bar.
00:31:29Number 22.
00:31:44The Ballet of the Red Shoes
00:31:46The Red Shoes
00:31:47Why do you want to dance?
00:31:52Why do you want to live?
00:31:54Sometimes, choreography and cinema
00:31:55come together to create something
00:31:57that can only be achieved
00:31:58through the power of film.
00:31:59Though some dance experts
00:32:01were critical of The Red Shoes
00:32:02when it was initially released in 1948,
00:32:05looking back at the film now,
00:32:06it's hard to fault it.
00:32:08That magical quality
00:32:09that some critics found too unrealistic
00:32:11is what makes the ballet
00:32:13at the center of it all
00:32:14one of cinema's finest.
00:32:25It was choreographed almost entirely
00:32:27by Robert Helpman,
00:32:28who also had a role in the film.
00:32:31But Leonid Massin,
00:32:31who played the quirky
00:32:33and pivotal shoemaker,
00:32:34was given license
00:32:35to come up with his own moves.
00:32:37Number 21.
00:32:47Too Darn Hot
00:32:48Kiss Me Kate
00:32:49Showgirl Lois Lane
00:32:50rolls in like a heatwave
00:32:52to audition for a role
00:32:53in Fred Graham
00:32:54and Cole Porter's new show.
00:32:55And the temperature only goes up
00:32:57once her feet get moving.
00:32:58Anne Miller was known
00:33:09for her crazy fast tap dancing,
00:33:11and this is one of the finest examples
00:33:13of what she could really do.
00:33:15She leaves no corner of the screen
00:33:17unscorched as she ranges around the set
00:33:19with effortless ease.
00:33:20Meanwhile,
00:33:21a rhythmic section of the piece
00:33:22really allows the audience
00:33:24to appreciate her speed
00:33:25and clarity.
00:33:38In a movie filled
00:33:39with strong performances,
00:33:41this number is a highlight,
00:33:43and one that few people
00:33:44would be able to replicate
00:33:45even half as well.
00:33:46Needless to say,
00:33:47Lois gets the part.
00:33:49Delightful.
00:33:50Gee, thanks, honey.
00:33:51How was I, Mr. Porter?
00:33:52Wonderful.
00:33:53Number 20.
00:33:54Step in Time
00:33:55Mary Poppins
00:33:56If you thought all
00:33:57a chimney sweep is good for
00:33:58is to, well,
00:33:59sweep the chimney,
00:34:00think again.
00:34:01Mary Poppins is probably
00:34:03best remembered
00:34:03for its celebrated tunes
00:34:05and innovative use of animation.
00:34:07Supercalifragilisticexpialidocious
00:34:09even though the sound of it
00:34:11is something quite atrocious
00:34:12if you say it loud enough
00:34:14you'll always sound atrocious
00:34:15But with this pick,
00:34:17we want to honor
00:34:17the film's choreography.
00:34:19Particularly the athletic prowess
00:34:21of the chimney sweeps.
00:34:22Stepping time,
00:34:23stepping time,
00:34:24stepping time,
00:34:25stepping time,
00:34:25never need a reason,
00:34:26never need a rhyme,
00:34:27stepping time,
00:34:28stepping time,
00:34:29stepping time,
00:34:29getting your knees up,
00:34:31getting your knees up,
00:34:32stepping time,
00:34:33Led by Dick Van Dyke,
00:34:34during Step in Time,
00:34:35they jump, flip,
00:34:36and kick their way
00:34:37all over the rooftop.
00:34:39Even though this particular moment
00:34:40in Mary Poppins
00:34:41doesn't include any actual cartoons,
00:34:44every actor still has that
00:34:45perfectly over-the-top energy.
00:34:47All right,
00:34:48stepping time,
00:34:48ready to reach the middle of the
00:34:50God,
00:34:50all right,
00:34:51Mickey God,
00:34:52over the rooftops,
00:34:53over the rooftops,
00:34:54Mickey God,
00:34:54over the rooftops,
00:34:55Mickey God,
00:34:56the dance number is so lively,
00:34:58it feels like it's picking up speed
00:34:59by the second.
00:35:01I'd shame all,
00:35:02will it?
00:35:02I'd shame beautiful.
00:35:04Lovely,
00:35:05tell your mom.
00:35:07Hello,
00:35:08hello,
00:35:08hello,
00:35:09hi,
00:35:10Mary.
00:35:10The whole thing makes our heads whirl
00:35:13as fast as Mary Poppins is.
00:35:15Number 19,
00:35:16You're All the World to Me,
00:35:18Royal Wedding.
00:35:19Usually when we say the phrase
00:35:20dancing on the ceiling,
00:35:21we don't mean literally,
00:35:23but in the case of Fred Astaire,
00:35:24we actually do mean what we say.
00:35:26You're all places
00:35:28that leave me breathless
00:35:30and no wonder
00:35:32you're all the world to me.
00:35:36Royal Wedding is about
00:35:37two performing siblings
00:35:38played by Astaire and Jane Powell.
00:35:41Throughout the movie,
00:35:41both characters fall in love.
00:35:43In Astaire's case,
00:35:44that sends him walking on air.
00:35:54Being filled with joy
00:35:56at the prospect of romancing
00:35:57a woman who has
00:35:58as much passion for dance as him
00:36:00gives Astaire's character
00:36:02a magical presence.
00:36:03He looks just as good
00:36:04moving on the floor
00:36:05as he does on the walls
00:36:06as he does on the ceiling.
00:36:08It's a feat of dancing
00:36:09and technical filmmaking as well.
00:36:26Number 18,
00:36:27You Can't Stop the Beat,
00:36:29Hairspray.
00:36:30Every song and dance sequence
00:36:32from Hairspray
00:36:32is big, bright, and beautiful,
00:36:34but You Can't Stop the Beat
00:36:36has to be our favorite.
00:36:38At the beginning of the film,
00:36:39the Corny Collins show
00:36:40is segregated.
00:36:41You Can't Stop the Beat.
00:36:43Every since this whole world began,
00:36:45a woman found out
00:36:46if she's sugar,
00:36:46she can shake up a man.
00:36:48So I'm glad she can
00:36:49shoot me at the best
00:36:50that I can today.
00:36:52However,
00:36:53when Seaweed's sister,
00:36:54Lil Inez,
00:36:55unofficially enters
00:36:56the live TV dance competition,
00:36:58she wins by a landslide
00:36:59of call-in votes.
00:37:01Inez Stubbs!
00:37:03That's amazing!
00:37:05How about that?
00:37:07Yes!
00:37:08Come on over here,
00:37:09the winner gets to be
00:37:11head dancer,
00:37:12so the Corny Collins show
00:37:13officially becomes integrated.
00:37:15In the final moments,
00:37:16everyone gets on the floor
00:37:17to join in and celebrate,
00:37:19from John Travolta's Edna
00:37:21to Queen Latifah's
00:37:22Motormouth Maybel.
00:37:34The feel-good finale
00:37:35is full of fast,
00:37:37fun dance moves
00:37:38and will totally make you
00:37:39want to join in
00:37:40on the festivities.
00:37:42Number 17.
00:37:43Fame.
00:37:44Fame.
00:37:51If you're anything like us,
00:37:52you only need to hear
00:37:53the opening beats
00:37:54to this song
00:37:55and you're grabbing
00:37:55your leotard and leg warmers
00:37:57and heading out
00:37:57to the street.
00:37:58This scene proves
00:37:59that you don't need
00:38:00slick and meticulous choreography
00:38:01to create an unforgettable
00:38:03and legendary dance moment.
00:38:04Indeed, Irene Cara's
00:38:15iconic tune
00:38:16literally stops traffic
00:38:18as the students
00:38:18rush into the busy
00:38:19New York roads
00:38:20and move in whatever way
00:38:21the music compels them to.
00:38:23Apparently,
00:38:24it took three days to shoot
00:38:25and they closed
00:38:26half of central Manhattan
00:38:27to get it done.
00:38:28Yet, it looks
00:38:33totally spontaneous,
00:38:35feels electric
00:38:36and oozes fun.
00:38:37The number practically
00:38:38defines this generation
00:38:40of the dance genre
00:38:41and we have no doubt
00:38:42its legacy
00:38:42will live forever.
00:38:45Number 16.
00:38:46The Audition.
00:38:47Flashdance.
00:38:48Remember when Alex
00:38:49dances to
00:38:49He's a Dream
00:38:50early on in the film?
00:38:51You know,
00:38:51that iconic bit
00:38:52with the chair.
00:38:53The innovative choreography
00:39:04goes so hard
00:39:05that we didn't think
00:39:06they could ever top it.
00:39:07But then came Alex's audition
00:39:09and we were left feeling
00:39:10like we'd just been
00:39:11doused in water.
00:39:12She sets herself
00:39:13apart from the other auditionees
00:39:15with an upbeat,
00:39:16jazzy routine
00:39:16to Irene Cara's
00:39:17What a Feeling.
00:39:23It combines ballet,
00:39:32jazz,
00:39:33contemporary steps
00:39:34and even a little
00:39:35breakdancing.
00:39:36Is it any wonder
00:39:37that the panel loses
00:39:38its composure
00:39:38as the routine
00:39:39builds momentum?
00:39:40Feels to be there
00:39:42I can't have it
00:39:46I'm now dancing
00:39:48for my life
00:39:51This dance changed
00:39:52the face
00:39:52of musical movie
00:39:53history
00:39:54and became
00:39:54a pop culture
00:39:55phenomenon.
00:40:00Ginger Rogers
00:40:01and Fred Astaire
00:40:02danced together
00:40:02many times
00:40:03throughout the 1930s
00:40:04and 40s
00:40:05but this romantic
00:40:06duet is one
00:40:07of their most
00:40:07beloved
00:40:08for good reason.
00:40:09And I seem
00:40:10to find
00:40:11the happiness
00:40:13I seek
00:40:15when we're
00:40:17out together
00:40:18dancing
00:40:19cheek to cheek
00:40:21the scene
00:40:23starts out
00:40:23with a simple
00:40:24slow dance
00:40:25It then transitions
00:40:26to a series
00:40:26of more complex
00:40:27synchronized moves
00:40:28that represent
00:40:29the complicated
00:40:30feelings the characters
00:40:31are developing
00:40:32for each other.
00:40:33The grace
00:40:46and fluidity
00:40:47in the performance
00:40:48is gorgeous
00:40:48even if you're talented
00:40:50enough to pull it off
00:40:51you still have to find
00:40:52a partner
00:40:53who can keep up
00:40:54and remember
00:40:55one of you
00:40:55has to do everything
00:40:57backward
00:40:57and in heels
00:40:58number 14
00:41:15Another Day of Sun
00:41:17La La Land
00:41:18Emma Stone
00:41:19and Ryan Gosling
00:41:20more than proved
00:41:21their dancing capabilities
00:41:22throughout the
00:41:22modern movie musical
00:41:23In fact
00:41:36they do so
00:41:37on more than
00:41:37one occasion
00:41:38However
00:41:39the film's
00:41:39best group routine
00:41:40happens to be
00:41:41one that doesn't
00:41:42include the romantic
00:41:43leads
00:41:43In the opening number
00:41:55drivers caught
00:41:56in a traffic jam
00:41:57leave their vehicles
00:41:58to dance among
00:41:59the parked cars
00:42:00The electric choreography
00:42:01is a collection
00:42:02of different styles
00:42:03reflecting the
00:42:04diverse group of people
00:42:05that call Los Angeles
00:42:06home
00:42:06and flawlessly
00:42:07spotlighting their
00:42:08desire to succeed
00:42:10Thanks to just a few
00:42:21cleverly hidden cuts
00:42:23we feel like we're
00:42:24watching one long shot
00:42:25which makes the routine
00:42:26all the more memorable
00:42:28It's completely unique
00:42:29and also perfectly
00:42:31embodies the spirit
00:42:32of L.A.
00:42:40Number 13
00:42:44Opening
00:42:45A Chorus Line
00:42:46So far we've seen
00:42:47the intensity
00:42:48and talent
00:42:49that can take place
00:42:49in front of the camera
00:42:50Let's take a step
00:42:51behind the scenes
00:42:52for a moment
00:42:53And 5, 6, 7, 8
00:42:55Okay, you
00:43:01the girl and the wife
00:43:031985's A Chorus Line
00:43:05opens on a massive
00:43:06Broadway audition
00:43:07where multiple dancers
00:43:08perform their hearts out
00:43:09in the hopes
00:43:10they'll get a callback
00:43:11As the sequence goes on
00:43:12we get to see
00:43:13how talented everyone is
00:43:15but also how fast-paced
00:43:16and extreme
00:43:17the audition lifestyle is
00:43:19As each group of dancers
00:43:32takes the stage
00:43:33a man screams directions
00:43:35to them over the music
00:43:36calling out moves
00:43:37as loudly as possible
00:43:38The sequence really
00:43:40puts into perspective
00:43:41just how fiercely
00:43:42competitive the industry
00:43:43can be
00:43:44Number 12
00:43:57Bottle Dance
00:43:58Fiddler on the Roof
00:43:59As the characters
00:44:00come together
00:44:01for the wedding
00:44:01of Zeitel and Motel
00:44:03the men of the village
00:44:04perform a traditional
00:44:05bottle dance
00:44:06The celebratory dance
00:44:15features four men
00:44:15balancing bottles
00:44:16on their hats
00:44:17as they cross the room
00:44:18sweeping their legs
00:44:19with incredible grace
00:44:21and precision
00:44:21The dance is so authentic
00:44:23that many viewers
00:44:24believed it was
00:44:25a traditional
00:44:25Jewish folk dance
00:44:26but that actually
00:44:27isn't the case
00:44:28While based on some
00:44:37Orthodox Jewish
00:44:38wedding celebrations
00:44:39he attended
00:44:39it's mostly a creation
00:44:41of the original musical's
00:44:42director-choreographer
00:44:43Jerome Robbins
00:44:44As captured on film
00:44:46the sequence is just
00:44:47as electrifying
00:44:48as it is on stage
00:44:49Number 11
00:44:58Everyone Gets Footloose
00:44:59Footloose
00:45:00For a movie set
00:45:01in a small town
00:45:02that's banned everything
00:45:03from ballroom swaying
00:45:04to toe tapping
00:45:04it was surprisingly hard
00:45:06to choose just one
00:45:07standout dance scene
00:45:08Never, never, never, ever
00:45:11never, never, never
00:45:13ever hide your heart
00:45:15No one does angry dancing
00:45:17quite like Ren
00:45:18and watching him teach
00:45:19Willard some moves
00:45:20was also pretty memorable
00:45:22Still, nothing beats
00:45:23the teens' excitement
00:45:24when they finally
00:45:25let loose at the prom
00:45:26Everyone really brings it
00:45:36and each moment's
00:45:37joyously euphoric
00:45:38You can imagine
00:45:39audiences back in 1984
00:45:41jumping to their feet
00:45:42in packed theaters
00:45:43and grooving along
00:45:44Even the most reluctant
00:45:56of dancers
00:45:57can't help but be
00:45:58figuratively
00:45:58and literally
00:46:00moved by the vibes
00:46:01in this scene
00:46:02Number 10
00:46:14You're the one that I want
00:46:15We go together
00:46:16Grease
00:46:17The last five minutes
00:46:19of Grease
00:46:19forgoes most of the dialogue
00:46:21and instead treats us
00:46:22to the entire cast
00:46:23singing, dancing
00:46:24and gyrating
00:46:25their way across
00:46:26the school carnival
00:46:27From shaking things up
00:46:33on the Shake Shack
00:46:34to the nonsense lyrics
00:46:35of We Go Together
00:46:35It's an energetic
00:46:37and joyous ending
00:46:38to the movie
00:46:39and the character's
00:46:39high school experience
00:46:40It's not just a curtain call
00:46:47for the speaking characters
00:46:48but a showcase
00:46:49for the incredible dancers
00:46:50that make up
00:46:51the movie's ensemble
00:46:52Especially Green Shirt Guy
00:46:59Has anyone ever had
00:47:00a better time
00:47:01than Green Shirt Guy?
00:47:02Number 9
00:47:03America
00:47:03West Side Story
00:47:05One of the best musicals around
00:47:07The original movie version
00:47:08of West Side Story
00:47:09is renowned
00:47:09for its choreography
00:47:10Smoke on your pipe
00:47:13And put
00:47:16Let it
00:47:17I like to be
00:47:21While we love the changes
00:47:24that the 2021 movie adaptation makes
00:47:26There's something special
00:47:28about the original America
00:47:29And we don't just mean
00:47:30Rita Moreno's
00:47:31iconic purple dress
00:47:32We could have gone
00:47:33with the 1961 version of Cool
00:47:35An action-packed
00:47:36and dynamic force of nature
00:47:38But failing to mention
00:47:49the joy in life
00:47:50that propels America forward
00:47:51would be a misgiving
00:47:52on our part
00:47:53The ensemble performance
00:48:06is second to none
00:48:07and Moreno adds
00:48:08a whole lot of power
00:48:09to the number
00:48:10Watching her twirl her way
00:48:12around the set
00:48:12is watching a star
00:48:13in motion
00:48:14Number 8
00:48:25I've Had the Time of My Life
00:48:26Dirty Dancing
00:48:27Few dances from 80s movies
00:48:29stand out as much
00:48:30as this show-stopping finale
00:48:31And no
00:48:32not just because
00:48:33of that famous lift
00:48:34Choreographers Kenny Ortega
00:48:42and Doriana Sanchez
00:48:43combine several dance styles
00:48:45to create their signature
00:48:46dirty dancing moves
00:48:47The routine appears
00:48:48during the film's climax
00:48:49when Baby finally comes
00:48:51into her own
00:48:52and shows everyone
00:48:53that she can really
00:48:54strut her stuff
00:48:55The fluidity
00:48:56and sensualness
00:48:57of the steps
00:48:57combined with Johnny
00:48:59and Baby's fiery chemistry
00:49:00made this a timeless moment
00:49:02beloved by generations
00:49:03We're not embarrassed
00:49:14to admit that we've tried
00:49:15replicating their moves
00:49:16Just point us
00:49:18at the nearest lake
00:49:18and we'll even
00:49:19give that lift a go
00:49:20Any volunteers to catch us?
00:49:30Number 7
00:49:32The Ballet
00:49:33An American in Paris
00:49:34When Gene Kelly
00:49:43decides to call a number
00:49:44That's Entertainment
00:49:45you best believe
00:49:46he means it
00:49:47An American in Paris
00:49:49is a 1951
00:49:50classic musical
00:49:51choreographed
00:49:52entirely by Kelly
00:49:53and includes
00:49:54one of his most
00:49:54ambitious pieces ever
00:49:56The ballet
00:49:57at the end of the film
00:49:58crosses over
00:49:58numerous sets
00:49:59has tons
00:50:00of extras
00:50:01and showcases
00:50:02complex and unique
00:50:03choreography
00:50:04that took the world
00:50:05by storm
00:50:05At one point
00:50:20the dance changes
00:50:21from a jaunty
00:50:21colorful tap number
00:50:23to a swooningly
00:50:24romantic ballet
00:50:24in the snap
00:50:25of a finger
00:50:26Kelly takes
00:50:27audacious leaps
00:50:28with his choreography
00:50:29here
00:50:29both figuratively
00:50:30and literally
00:50:31Number 6
00:50:48The Lindy Hop
00:50:50Hell's a-poppin'
00:50:50You might think
00:50:56this footage
00:50:57has been sped up
00:50:58but it hasn't
00:50:59They're really
00:51:00moving that fast
00:51:01Whitey's Lindy Hoppers
00:51:03were a group
00:51:03of professional
00:51:04swing dancers
00:51:04who came out
00:51:05of the Harlem Renaissance
00:51:06During their heyday
00:51:07the group toured Europe
00:51:09and the US
00:51:09and appeared
00:51:10in multiple films
00:51:11In this scene
00:51:12some delivery men
00:51:13are dropping off
00:51:14a set of instruments
00:51:15and can't resist
00:51:16testing them out
00:51:17One, two
00:51:18keep that little heat
00:51:19One more riff like that
00:51:21and I'll be gone
00:51:22Other service workers
00:51:23around the property
00:51:24hear them
00:51:25and soon the party
00:51:26gets going
00:51:27The Lindy Hop
00:51:27remains a popular
00:51:28type of swing today
00:51:30and its influence
00:51:31can be seen
00:51:31all over Hollywood
00:51:33Number 5
00:51:45Cell Block Tango
00:51:47Chicago
00:51:48There was a time
00:51:49when movie musicals
00:51:51seemed to be
00:51:51a thing of the past
00:51:52Media that was considered
00:51:54old-fashioned
00:51:54and corny
00:51:55But then
00:52:09came the 2002
00:52:11release of Chicago
00:52:12The film was directed
00:52:14by Bill Condon
00:52:15with choreography
00:52:15by Rob Marshall
00:52:16based on Bob Fosse's
00:52:18original Broadway production
00:52:19Fosse's work
00:52:31was full of dark comedy
00:52:33and spectacular set pieces
00:52:34and the Oscars
00:52:36started rolling in
00:52:37The Cell Block Tango scene
00:52:39is without a doubt
00:52:40the movie's
00:52:41standout dance number
00:52:42Now for the last number
00:52:43in our act
00:52:43we did these 20
00:52:44acrobatic tricks in a row
00:52:461, 2, 3, 4, 5
00:52:48splits, spread eagles
00:52:50backflips, flip-flops
00:52:51one right after the other
00:52:52Beginning with individuals
00:52:53telling their own stories
00:52:55through song and dance
00:52:56it ends in a large-scale
00:52:57chorus routine
00:52:58The number is funny
00:53:00unnerving
00:53:01and thrilling by turn
00:53:03He had it coming
00:53:04He had it coming
00:53:05He had it coming
00:53:06He had it coming
00:53:07He only had
00:53:08He only had
00:53:09He only had
00:53:09He only had
00:53:09He only had
00:53:09He only had
00:53:09He only had
00:53:10He only had
00:53:11This is musical
00:53:16storytelling
00:53:16at its best
00:53:18Number 4
00:53:19Mine Hair
00:53:20Cabaret
00:53:21As the Kit Kat Club's
00:53:23resident singer
00:53:23Sally Bowles
00:53:24Liza Minnelli
00:53:25is the essence
00:53:26of vamp beauty
00:53:27Mine Hair
00:53:28takes the movie's
00:53:28classic 30s aesthetics
00:53:29and makes them
00:53:30risque and modern
00:53:31You have to understand
00:53:34the way I am
00:53:35Mine Hair
00:53:36As directed
00:53:36and choreographed
00:53:37by Bob Fosse
00:53:38The number sees
00:53:39Liza and the
00:53:40scantily clad
00:53:41Kit Kat girls
00:53:41straddling chairs
00:53:42and pounding the floor
00:53:43The dark and slinky
00:53:45sensuality
00:53:46The whimsy of burlesque
00:53:47song and dance
00:53:48and the smoky atmosphere
00:53:49of the cabaret
00:53:50create a dance number
00:53:51that's equal parts sexy
00:53:53silly and unsettling
00:53:54And though I used to care
00:53:57I need the opening
00:53:59In a movie musical
00:54:00full of memorable numbers
00:54:02Mine Hair
00:54:02is the one
00:54:03that made all the posters
00:54:04Number 3
00:54:13Barn Dance
00:54:14Seven Brides
00:54:15for Seven Brothers
00:54:16When there are this
00:54:29many moving parts
00:54:30it's tough to make
00:54:31anything look coherent
00:54:32but somehow
00:54:33the barn dance
00:54:34in Seven Brides
00:54:35for Seven Brothers
00:54:36finds a way
00:54:37The result
00:54:38one of the most
00:54:39famous dance sequences
00:54:40ever committed
00:54:41to the silver screen
00:54:42The choreography
00:54:51is not only athletic
00:54:52as all get out
00:54:53but incredibly intricate
00:54:55It requires perfect steps
00:54:57and placement
00:54:58at all times
00:54:59If one thing goes wrong
00:55:01everything could go wrong
00:55:02As the number goes on
00:55:04and things get more
00:55:05buoyant and exciting
00:55:06It's a miracle
00:55:07these dancers
00:55:08were able to commit
00:55:09this to film history
00:55:10in the way they were
00:55:11Number 2
00:55:21Singing in the Rain
00:55:22Singing in the Rain
00:55:23It's one of the most
00:55:24epic scenes of all time
00:55:26How could we ever
00:55:27leave it off?
00:55:281952's Singing in the Rain
00:55:30is among the most
00:55:31celebrated musicals
00:55:32of the classic era
00:55:32and for good reason
00:55:34I'm laughing at clouds
00:55:36so dark up above
00:55:40The sun's in my heart
00:55:43and I'm ready for love
00:55:47There are so many
00:55:48memorable moments
00:55:48including, of course
00:55:50the title number
00:55:51After parting ways
00:55:52with his love interest
00:55:53Kathy for the night
00:55:54Kelly's dawn
00:55:55walks beaming out
00:55:56into the street
00:55:57The rain is falling
00:55:58but he couldn't care less
00:56:00He's a man in love
00:56:01after all
00:56:01I'm happy again
00:56:03I'm singing
00:56:12and dancing
00:56:14in the rain
00:56:16Kelly's buoyant
00:56:20bouncing solo
00:56:21is some of his best work
00:56:22both as a performer
00:56:23and a co-choreographer
00:56:24It's impossible to watch it
00:56:27without smiling
00:56:27just as big as he is
00:56:29Dancing
00:56:30and singing
00:56:32in the rain
00:56:36Before we get to our top pick
00:56:42here are a few
00:56:43honorable mentions
00:56:44Xanadu
00:56:44Xanadu
00:56:45Exaggerated moves
00:56:47bold costumes
00:56:48and roller skates
00:56:49Need we say more?
00:56:51The love that we came to know
00:56:53They call it Xanadu
00:56:56You can never tell
00:57:02Pulp Fiction
00:57:03Vincent and Mia
00:57:04show off their
00:57:04trophy-worthy twist
00:57:05Culture show
00:57:06You never can tell
00:57:08They had a high-five
00:57:11born on a boy
00:57:12Did you let it last?
00:57:16700
00:57:17Old-time rock and roll
00:57:18Risky business
00:57:19A dance that's had
00:57:20generations of kids
00:57:21sliding across
00:57:22living room floors
00:57:23Time after time
00:57:37Romy and Michelle's
00:57:38high school reunion
00:57:39Romy and Michelle
00:57:40dazzle their peers
00:57:41with homemade dresses
00:57:42and interpretive dance
00:57:43Detention dance
00:57:56The breakfast club
00:57:57Detention isn't so bad
00:57:58when you've got moves
00:57:59like these
00:58:00Before we continue
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00:58:22Number 1
00:58:25Jump and Jive
00:58:26Stormy Weather
00:58:27From the moment
00:58:42their tap shoes
00:58:43hit the stage
00:58:44they're doing moves
00:58:45that most of us
00:58:45could only dream
00:58:46of attempting
00:58:47and it just gets
00:58:48wilder from there
00:58:57Born in 1914
00:59:03and 1921
00:59:04respectively
00:59:04Fayard and Harold
00:59:06Nicholas were
00:59:06entirely self-taught
00:59:08in the arts
00:59:08of singing
00:59:09and dancing
00:59:10They started
00:59:11performing professionally
00:59:12as children
00:59:12and proved
00:59:13well into their
00:59:1460s and 70s
00:59:15that they were
00:59:16still superstars
00:59:17on the dance floor
00:59:18The Nicholas brothers
00:59:19might have been
00:59:20the greatest tap dancers
00:59:21of all time
00:59:22and this dance break
00:59:23is one of the most
00:59:24impressive
00:59:25ever put to film
00:59:26Which of these
00:59:41dance scenes
00:59:41will stick with you
00:59:42for the rest of time?
00:59:43Let us know
00:59:44in the comments
00:59:45Did you enjoy
00:59:48this video?
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