Strictly Come Dancing 2015: movie week
A short blog for the third week of proceedings due to limited access to dances on the grounds of bad geography.
The order of dances here differs to the one the show ran in because it took me a while to find the actual episode and has forgone detailed scoring.
This just a temporary thing, I’m back in a few weeks. This is also the third time I have typed this post, so whether or not my iPad makes it back across the pond with me remains to be seen.
Janette and Aljaz kicked things off as they introduced and then led the professional number in which everyone – celebs and all – got a turn. Contestants ripped off famous films such as the Titanic by standing around and looking dazed in still frames. It was over soon enough and those not swallowed up by the ground as they wished for, retreated back up the stairs to descend down again.
Jay McGuiness and Aliona Vilani – Jive to ‘Misirlou/You Never Can Tell’ from Pulp Fiction
Props: an American Diner booth
Fresh from his cosplay as Woody from Toy Story, Jay finally shook off the nerves and showed us why we should take him seriously in this competition. His jive featured excellent footwork, great transitions, strong kicks and synchronisation a watch would be jealous of.
Score: 37 (Bruno with a 10)
Jamelia and Tristan MacManus – Salsa to ‘Heaven Must Be Missing An Angel’ from Charlie’s Angels
Props: a desk
The only way to describe this would be a sunshine coloured mess. Yellow may be a cheery colour but this was far from the emotion of the dance. Jamelia flew off time in several places and Tristan was hard pressed to keep her semi-Salsa routine. It wasn’t very fluid and felt very stompy, too. It felt under-rehearsed yet over-acted.
Anita Rani and Gleb Savchenko – American Smooth to ‘Unchained Melody’ from Ghost
Props: a pottery wheel
Things got off to a rocky start here as Anita decked Gleb in the flack as he spun her in his arms. Later, things got weird as new pro #1 lay her on the floor and wiggled over her. It wasn’t as bad as I appreciate I’ve made it sound. But it wasn’t good. And it didn’t add much to what was otherwise a clean and classy AS. Anita looks happy in hold and this character allows her to accentuate her lines.
Helen George and Aljaz Skorjanec – Foxtrot to ‘I Wanna Be Loved By You’ from Some Like It Hot
Props: a sailor wheel
Helen makes Ballroom look effortless as she glided around the floor with Aljaz in tow and struck some beautiful lines. An elegant routine from Aljaz showcased her comfortable news in hold.
Kellie Bright and Kevin Clifton – Charleston to ‘Cantina Band’ from Star Wars
Fun, fast and full of fun. A preppy routine featuring stick wielding, funny lifts/throws and lots of kicking out. It had all the elements of a good Charleston and Kellie nailed the characterisation of the dance.
Carol Kirkwood and Pasha Kovalev – Quickstep to ‘Wash That Man’ from South Pacific
Props: a shower booth?
Pasha did his best to keep Carol moving but she seemed to enjoy sticking to the floor. By the end, Pasha was dragging Carol around the floor as she failed to get her knees up at all and in the end he locked her in the booth and threw polystyrene at her.
Anthony Ogogo and Oti Mabuse – Paso Doble to ‘Eye Of The Tiger’ from Rocky
Props: half boxing rings
Oti did all of the cape work we would have liked to see Anthony do and in many respects it felt like Anthony followed her around the floor in a disorganised fashion. It just needed a lot of polishing.
Katie Derham and Anton Du Beke – Cha Cha Cha to ‘Pretty Woman’ from Pretty Woman
Props: shopping bags
I guess Katie was doomed the minute they cast her as post-makeover Vivian because, in the nature of the film, it was all about the man and it should have been more about the celebrity woman. It was very stilted and just not her dance. Looked like a spare part.
Georgia May Foote and Giovanni Pernice – Rumba to ‘Writings On The Wall’ from Spectre (not released)
I always feel uncomfortable during the Rumba but she gave it a good go. In places it was sulky, moody and sexy but in other places it was missing something. But she is a dancer. Watch her.
Also watch Giovanni, who I fear may have just been consigned to the broom cupboard.
Daniel O’Donnell and Kristina Rihanoff – Cha Cha Cha to ‘Summer Nights’ from Grease
Props: a table and a barbed fence
Daniel walked off into his own world at some point but it would be a perfect 40 for the take on of a character. He loved it! It was a bit messy and slow but not bad.
Kirsty Gallacher and Brendan Cole – American Smooth to ‘He’s a Tramp’ from Lady and The Tramp
Props: table and chairs. And she’s dressed as Lady. I mean, come on.
It was smooth and sleek but I can’t see past the costumes to enjoy it. Kirsty seemed more sure of herself than last week and it was a shame the tail messed up the lift.
Peter Andre and Janette Manrara – Paso Doble to ‘He’s A Pirate’ from Pirates of the Caribbean
Props: not even sure. Waves.
A stronger Paso than the other this evening and it was strong from Peter. energetic and strong. Still missing Paso content and cape work but it lacked polish which would have made it great. So I shall give it good.
Jeremy Vine and Karen Hauer – Charleston to ‘Top Hat, White Tie and Tails’ from Top Hat
A cheeky Jeremy suited this dance down to a tee and it felt like some of his best dancing so far in the competition. It was in time for the most part, had tricky footwork nailed and was entertaining. All you want, really.
Ainsley Harriott and Natalie Lowe – Cha Cha Cha to ‘Boogie Wonderland’ from Happy Feet
They didn’t close the show. I missed them as I was going through and now I’ve gone back. If you were looking for a structured blog, I’m afraid you clicked on the wrong one. I’m sorry. I shall be better on the 24th.
It was terrible but brilliant all at the same time. The moves were there and Ainsley coped well with them but it lacked the sharpness of a Cha Cha Cha.