Dance, Little Lady is a 1954 British drama film directed by Val Guest and starring Terence Morgan, Mai Zetterling, Guy Rolfe and Mandy Miller. The film was made by independent producer George Minter and distributed by his Renown Pictures. It was shot in Eastmancolor at the Walton Studios near London. The film's sets were designed by the art director Frederick Pusey.
Plot
Prima ballerina Nina Gordon is being financially exploited by her husband Mark (Terence Morgan). On the night of her triumphant Royal Opera House debut, she discovers he is also being unfaithful. Distraught, she leaves the party they were attending. However, Mark pulls up in their car and she gets in and he drives off at speed into the night. There is a car crash and Nina's leg is badly broken.
Learning that she'll never dance again, Nina is abandoned by Mark. But with the help of a sympathetic doctor (Guy Rolfe), Nina recovers the use of her legs, and begins to live her life vicariously through her talented daughter (Mandy Miller). When Mark reenters Nina's life, intending to take control of the daughter's dancing career, he finds the tables are turned on him.
Cast
Terence Morgan as Mark Gordon
Mai Zetterling as Nina Gordon
Guy Rolfe as Dr. John Ransome
Mandy Miller as Jill Gordon
Eunice Gayson as Adele
Reginald Beckwith as Poldi
Ina De La Haye as Mme. Bayanova
Harold Lang as Mr. Bridson
Lisa Gastoni as Amaryllis
Jane Aird as Mary
David Poole as Dancer
Maryon Lane as Dancer
Richard O'Sullivan as Peter
William Kendall as Mr. Matthews
Joan Hickson as Mrs. Matthews
Alexander Gauge as Joseph Miller
Vera Day as Gladys
Gabrielle Blunt as Switchboard Operator
Marianne Stone as Nurse
Helen Goss as Neighbour
Joan Benham as Nurse
Molly Lumley as Dresser
Jane Asher as Child
Ronald Dorey as Fire Engine Driver
Critical reception
The Radio Times wrote, "the dance sequences are fine, but the poor production values ruin the look of the film"; while TV Guide called it "a trite film". However, Sky Movies wrote, "Terence Morgan makes the best impression, as a sponger as smooth as he is nasty, in this ballet-orientated story, tailored to the talents of Britain's then screen wonder child, Mandy Miller. It bases its appeal on a blend of small-girl sentiment, highly coloured melodramatics and ballet (the dance ensembles are very well done). Mai Zetterling and Guy Rolfe provide rather limp support to Mandy's undeniable charm, but the story's fiery climax is most effective."
Box Office
According to Kinematograph Weekly the film was a "money maker" at the British box office in 1954.