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Dance in Film · 1987

Bad (1987)

Martin Scorsese turns Darryl’s return to Brooklyn into an 18-minute narrative short whose black-and-white confrontation erupts into Michael Jackson, Gregg Burge, and Jeffrey Daniel’s color subway choreography, making dance the answer to Mini Max’s test of identity.

Bad is a 1987 dance film centred on ballroom and social dance. For dancers, it's a chance to see the style performed on screen — the phrasing, partnering, and musicality that the same dances carry onto a real floor.

Jump to the 4 indexed dance sequences

Where to watch: Free authorized full 18-minute short film on Michael Jackson’s official website and official YouTube channel; watchability verified 2026-08-08.

Featured clip

An excerpt — one number from the full work.

The dance sequences in Bad

4 sequences — what is danced, by whom, and where to find it.

  1. Colour-change ensemble reveal

    Musical Theatre Character Dance

    Danced by Michael Jackson; ensemble dancers · Choreography Michael Jackson; Gregg Burge; Jeffrey Daniel

    Jackson appearing above the subway set as the dancers arrive in colour and the fantasy performance takes over.

    The black-and-white confrontation bursts into colour and a staged ensemble response, making character transformation and narrative conflict legible through musical-theatre choreography rather than dialogue.

    Watch this sequence · The full film is on YouTube; the link opens at this sequence. The opened Michael Jackson/Sony upload is the full 18-minute short film, distinct from the separately labeled shortened edit. No timestamp or deep link is entered because the scene-analysis source gives only an approximate onset for the colour transformation.

    More about this dancer →

  2. Scoreless 'Who's Bad?' call-and-response

    Call-and-response dance chant

    Danced by Michael Jackson; ensemble dancers · Choreography Michael Jackson

    Jackson asking the repeated question while the surrounding dancers answer and follow his lead.

    The music drops out and Jackson leads the dancers through a spontaneous sermon-like call-and-response, turning rhythm, gesture, and group reply into the dramatic resolution.

    Watch this sequence · The full film is on YouTube; the link opens at this sequence. The opened Michael Jackson/Sony upload is the full 18-minute short film, distinct from the separately labeled shortened edit. No timestamp or deep link is entered because the scene-analysis source gives only an approximate onset for the colour transformation.

    More about this dancer →

  3. Turnstile run and troupe scoot

    Signature scoot and ensemble street movement

    Danced by Michael Jackson; ensemble dancers · Choreography Jeffrey Daniel

    The company clearing turnstiles and advancing together in the scooting step.

    The formation races behind station grates and over turnstiles before converting Jackson's forward scoot into a full-troupe motif, so a solo signature becomes collective movement.

    Watch this sequence · The full film is on YouTube; the link opens at this sequence. The opened Michael Jackson/Sony upload is the full 18-minute short film, distinct from the separately labeled shortened edit. No timestamp or deep link is entered because the scene-analysis source gives only an approximate onset for the colour transformation.

    More about this dancer →

  4. Wind-grate fight-dance interlude

    Musical Theatre Character Dance

    Danced by Michael Jackson; ensemble dancers · Choreography Michael Jackson; Gregg Burge; Jeffrey Daniel

    The wind catching Jackson's hair and jacket before the station fills with synchronized dancers.

    Jackson opens the grate into a wind-filled release, then solos against an ensemble moving between pillars in synchronized fight-dance patterns explicitly linked to West Side Story.

    Watch this sequence · The full film is on YouTube; the link opens at this sequence. The opened Michael Jackson/Sony upload is the full 18-minute short film, distinct from the separately labeled shortened edit. No timestamp or deep link is entered because the scene-analysis source gives only an approximate onset for the colour transformation.

    More about this dancer →

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