6.6/10
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Ten Cents a Dance (1931)

Men pay a dime to dance with Barbara and her fellow taxi dancers. She marries Eddie and plans to quit dancing. Before she does, she meets a handsome and rich gentleman.

Directors:

, (uncredited)

Writers:

(continuity),
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Cast

Cast overview, first billed only:
...
Barbara O'Neill
...
Bradley Carlton
...
Eddie Miller
...
Molly
Blanche Friderici ...
Mrs. Blanchard
Phyllis Crane ...
Eunice
Olive Tell ...
Mrs. Carlton
Victor Potel ...
Smith, a Sailor
Al Hill ...
Jones, a Sailor
Jack Byron ...
Leo
Pat Harmon ...
Casey, the Bouncer
...
Nancy Clark
David Newell ...
Ralph Clark
Sidney Bracey ...
Wilson, Carlton's Butler
...
Mr. Carney
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Storyline

Men pay a dime to dance with Barbara and her fellow taxi dancers. She marries Eddie and quits dancing, but before that, she meets with the handsome and very rich Bradley. Barbara eventually starts dancing again, since her marriage is plagued by financial tension, and Bradley begins visiting her again. Eddie becomes jealous, accusing his wife of infidelity. He sees that alleged infidelity as an excuse to steal money from Bradley. Written by Ulf Kjell Gür

Plot Summary | Add Synopsis

Plot Keywords:

taxi dancer | number in title | See All (2) »

Taglines:

She was a dance hall hostess but the band never played "Home Sweet Home" for her. (Studio publicity sheet).

Genres:

Drama | Romance

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Details

Country:

Language:

Release Date:

6 March 1931 (USA)  »

Also Known As:

10-Cents Dansen  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric System)

Aspect Ratio:

1.19 : 1
See  »
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Did You Know?

Quotes

Barbara O'Neill: I don't love you. I don't even think of you enough now to hate you!
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Soundtracks

Ten Cents a Dance
(uncredited)
Music by Richard Rodgers
Lyrics by Lorenz Hart
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User Reviews

 
Babs in trouble, a good place for her to be
23 July 2012 | by (New York, NY) – See all my reviews

Columbia programmer "inspired by the song by Rodgers and Hart," and in fact it's sung over the credits, including the "pansy" line, which got censored in future film renditions. But all it really inspires is the setting, a dime-a-dance hall, where Stanwyck, in an early, prototypical role, is pursued by a rich (Cortez) and poor (Owsley) guy, and in a clever reversal, the nice-seeming poor guy turns out to be a cad and the rich guy is genuine and caring. Stanwyck's facial expressions alone are touching and assured, and she even cries convincingly, unlike many more actressy actresses of the period. Owsley is callow and unlikable, but then that's what he's playing, and Cortez underplays well, with liquid eyes that are indeed the mirrors to this character's soul. It's indifferently directed by Lionel Barrymore and has little in production value, but Jo Swerling's screenplay isn't bad, and the pre-Code candor is a treat.


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