There are "dancicals," of course, a separate film form wherein characters sway, spin and skip to music but don't sing. They only dance.
Actual movie musicals, however, now routinely eliminate the moves. If you listen to the soundtrack of Alan Parker's film of "Evita" (1996), your imagination runs wild with visions of dust-raising choreography. But watch the film and the only dancing on screen is a brief waltz shared by stars Madonna and Antonio Banderas. And that's about all that Johnny Depp and Helena Bonham Carter do in Tim Burton's "Sweeney Todd: The Demon Barber of Fleet Street" (2007). (Burton not only dropped all the dances, but for some bizarre reason, also eliminated the musical's chorus as well.)
There's precious little dancing in Phyllida Lloyd's toe-tapping "Mamma Mia! (2008) and none whatsoever in Tom Hooper's funereal "Les Misérables" (2012), even though a choreographer is listed in its credits.
Gone are the days when a film musical's choreographer was as important as its, with Agnes DeMille given carte blanche by Fred Zinnemann for his version of "Oklahoma!" (1955) and Jerome Robbins translating his stage dances to film for "West Side Story" (1961).
And then there are those films whose choreographers meticulously recreated dances from the stage originals - Rod Alexander who restaged Agnes DeMille's moves for Henry King's "Carousel" (1956); Robert Tucker who traced over Jerome Robbins' choreography for Mervyn LeRoy's "Gypsy" (1962), and Dale Moreda who recreated Bob Fosse's trademark moves for David Swift's "How to Succeed in Business without Really Trying." (Hugh Lambert also contributed choreography to the stage "How to Succeed," but his contribution was not used in the film version.)