Fade In: Soundstage, Universal Studios. Interior — Nightclub. Kirk Douglas, Gig Young and I are rehearsing a scene from our film, “For Love or Money,” a fizzy, frothy 1963 opus in which Kirk and I were cast as a version of “Rock & Doris” in this variation on their fizzy, frothy opuses with elegant sets and witty banter drenched in beautiful Jean Louis costumes. In this scene, Kirk and I are having an argument that plays out on a dance floor as we gyrate to the then-popular dance craze, the Twist.
I was casually observing Kirk’s preparation for the dance, which seemed very Method, very interpretive. “What is that, Kirk?” I asked demurely. “It’s the Twist,” he answered with all the confidence of Spartacus. When I assured him, again demurely, that what he was doing bore more resemblance to the “March of the Wooden Soldiers” than the Twist, he agreed to let me teach him.
I was casually observing Kirk’s preparation for the dance, which seemed very Method, very interpretive. “What is that, Kirk?” I asked demurely. “It’s the Twist,” he answered with all the confidence of Spartacus. When I assured him, again demurely, that what he was doing bore more resemblance to the “March of the Wooden Soldiers” than the Twist, he agreed to let me teach him.
- 2/12/2020
- by Mitzi Gaynor
- Variety Film + TV
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