Our reaction tends to wander from discomfort (should they be allowing a man with no legs to do that?) to rather patronizingly expressed wonder at how they are able to achieve that. We forget that the dance is meant to be enjoyed to be a beautiful spectacle and not an item of pity, discomfort or faked wonder (Kilgannon).
Over the years the concept of a disabled person dancing has always been frowned upon as if it is an imposition as if it as an added burden – don t they have enough difficulty as it is just walking on one leg, how will they ever manage to dance as well? As do the reactions – fake or otherwise – “It must be really taxing to achieve that”. Yet these are never asked of able-bodied dancers. Instead we are too wrapped up in the beauty and completeness of their sequences. Which al suddenly becomes unimportant and unimpressive the minute we see a disabled person try the same thing (Kilgannon).
The first is the sequence with the hoola hoops done by the very flexible gentlemen and the lady. This sequence enables the audience to be mesmerized by how the two blend together, with the hoops being utilized very efficiently as props that improve the story-telling and narration of the dance. We see the man and the woman almost compete as far as dexterity is concerned, each showing off how flexible they are and how intricately they can use the hoops. The second sequence is the one in the dance studio with the disabled man and the able-bodied ballet dancer where they intertwine their limbs in such a way as to meld together in a beautiful concert of their limbs, the man’s arms and the ladies legs (Kilgannon).
In the film the issues are not just of physical ability there is also mental ability since one of the men has an obsessive compulsive disorder of some sort going on as well. The film basically shows the humanity of the characters and tries to remove the inability but, as it does