The film is also study of class divide and financial struggle, in the microcosm of Kellerman's Resort: from the snobby son of the resort owner who brags, "Only last week, I took a girl away from Jamie, the lifeguard. And he said to her, right in front of me, 'What does he have that I don't have?' And she said, 'Two hotels,'" to the waiter working towards paying his tuition, who, Ayn Rand novel in hand, explains, "Some people count, some people don't," to justify not helping the girl he knocked pay for her abortion.
"Everybody is trapped in economic situations," says Bergstein.
Of all the talk about GOP VP pick Paul Ryan's affinity for Rand, "It's not something I would expect to come up in this presidential campaign," marvels Bergstein. "I am astounded that it is back in the news again."
Nevertheless, it's a detail many viewers pick out. Bergstein receives copies of Ayn Rand's novel in various languages from all over the world.
Twenty-five years later, Bergstein says she is happy that people still want to talk about the film, be it the pretty dresses or its empowering female lead. "You're very happy if anybody likes anything you've done for any reason at all."
But the abortion subplot, the class commentary, and generational tensions should not be overlooked.
"This is really why I made the movie—I love dancing; I took the music from my old 45s; all those things are important to me—but I would have never put my heart and soul into this for years without the political subtext."