Fame (1980)

Dir: Alan Parker, 1980. Starring: Irene Cara, Barry Miller, Lee Curreri, Paul McCrane, Gene Anthony Ray. Musicals.

British director Alan Parker’s third film, the high school musical Fame, has spawned a television series, a musical play, and a remake, not to mention inspiring reality competitions, the TV show Glee and other assorted bores about singing and dancing teenagers. What’s been forgotten is Fame works best as a gritty New York drama about teenage life in 1980. Parker, having just come off shooting the harrowing Turkish prison drama, Midnight Express, is no dance choreographer turned director. He’s a realist. Parker seems to be more inspired by the social realism of his countrymen Ken Loach and Alan Clarke rather than the Hollywood musical style of Busby Berkeley. He originally came out of television advertising and is often associated with popular English filmmakers of his generation like Adrian Lyne, Hugh Hudson, Ridley Scott and Tony Scott, who all started off in commercials and brought a shiny sheen to their films in the eighties. Although much of their work in that period (including Parker's) looks like champagne ads, Fame still resembles the unpolished look of seventies docudramas over the more purified work that followed. Fame is also one of the better films to casually capture the multicultural urban youth vibe of the times, unlike the John Hughes teenage whitewash that would come to dominate the eighties.

Fame depicts the lives of seemingly random students at New York’s School of the Performing Arts, from auditioning freshmen to upperclassmen. Ralph Garcia (Barry Miller of Saturday Night Fever) is a tortured Puerto Rican actor/stand-up comedian who worships comic actor Freddie Prinze and takes up some dangerously bad habits. The ambitious Coco Hernandez, played by singer Irene Cara (the original Sparkle), is a triple threat in acting, singing and dancing. Unlike her character Coco, Cara was never really able to capitalize on the attention Fame brought, although later she sang the hit theme to Flashdance. Bruno Martelli (Lee Curreri) is an obvious composing genius and his cab driver father will certainly tell anyone who will listen. Leroy (Gene Anthony Ray) only auditioned to help his girlfriend get in, but when the impressed dance instructors take an interest in his raw talent over her, he becomes the school's resident rebel. Even though her pushy stage mother believes in her, Doris (Maureen Teefy) may be a little too insecure for the competition. Speaking of insecure, acting student Montgomery, played by Paul McCrane (who would later appear as a great creep in RoboCop), is a wreck until he finally confronts his homosexuality. When the beautiful and wealthy ballerina, Hilary Van Doren (Antonia Franceschi), enters the school she inspires more competition among students.

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Posted by:
Sean Sweeney
Nov 19, 2013 2:26pm


Dir: Adrian Lyne, 1983. Starring: Jennifer Beals, Michael Nouri, Lilia Skala. Musicals (Dancicals).

FlashdanceLess standard follow-your-dreams dancical than sleek spandex-clad killing machine, the movie Flashdance is as exhilarating as it is nihilistic. Jennifer Beals has a honeyed glow and a natural, sexy charisma in the role of Alex, the hot young welder who moonlights as an exotic dancer at a Pittsburgh dive bar. Her dancing is her “art” and though I think it’s supposed to be erotic it’s really more schizo-aerobic.

The girls who dance with Alex at the club all have some kind of new wave performance art aspect to what they do and the set pieces are hilariously elaborate. One girl goes for a zany kabuki new wave effect and, well, it’s just weird.  For a movie about a dancer in the sticks hoping to make it big we don’t get much of a sense of dance as an art form revolving around the body. The dancing is really about the editing which is best described as epileptic while the film’s narrative goes forward at such a robotic, lockstep pace – with plenty of music video-like detours comparable to commercial breaks – that it’s not so much a movie that you see as one that you have done to you. In that sense, you might say it’s ahead of its time because the film provided a basic blueprint for the way Hollywood movies are made now.  The characters’ emotions are signaled with delicious Giorgio Moroder-produced instrumentals and the clichés of the basic kid with a dream story who must “risk everything” are cheerfully, mindlessly, and ferociously utilized. 

Flashdance was nominated for four Oscars including Best Cinematography (Donald Peterman), Best Film Editing (Bud S. Smith, Mulconery), and Best Music, Original Song (Mic...

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Posted by:
Jed Leland
Jan 23, 2012 6:32pm
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