Wordiezett So much average

Claysaba Excellent, Without a doubt!!

Keeley Coleman The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

sharky_55 The less you know about ballroom dancing, I suspect, the more you might enjoy this movie. It is not really about dancing itself but rather how self-absorption and delusions of grandeur can lead artists down some very silly paths. Movies like Strictly Ballroom are akin to peering through a window into a world that we could never ordinarily fathom, and one that may or may not exist in a similar form in reality. If there is a king of the mockumentary it is Christopher Guest, and in Best in Show he did a similar thing by taking aim at the bizarre practices of dog shows and their owners, resulting in scenes that were both vicious and very funny. There are an endless number of competitive worlds that this same approach can be applied to: models (Zoolander), rock bands (Spinal Tap), athletes, equestrian, ballerinas, you name it. The opening of Strictly Ballroom is charged with the same energy and self-importance that these dancers radiate. Their gliding steps unfurl rhythmically in match cuts, and they make sure their costumes are adorned with as many sequins and shiny beads as possible, so that when the stage lights hit them they glitter like prancing, overdressed angels. Catherine Martin and Angus Strathie come together to construct a world that fashions itself like a grotesque child beauty pageant for adults, full of garishly fake tans, lurid red lips, oodles of drama, and overbearing parents living vicariously through their children. The godlike authority of the ballroom world is one man, never referred to as simply Barry, nor Fife, but always Barry Fife, and often with his full title of Federation President Barry Fife. These 'adults' are shot frequently from below and through wide-angle lenses, distorting their already monstrous features and exposing the leathery cracks in their hide-I mean err, skin. The introduction also makes delightful use of the mockumentary format to poke fun at the scandal of young prodigy Scott Hastings going off book, by not adhering to 'strictly ballroom' moves, but resorting to his own flashier, impromptu moves (at one point he even fits the worm in there). Luhrmann cuts to and from the controversy with great relish, allowing his talking heads to exaggerate, and their horrified reactions to build the drama. He pushes his dramatic zooms to their utmost invasiveness to highlight and underline the shock horror of a dancer who dares defy the code of the ballroom floor. When Scott later goes to 'apologise' to Liz for leading her into a world of darkness and temptation, he doesn't do it through words but through interpretive dance; the passive aggressiveness in their graceful one-two is terribly funny. The story is of course an over-ripe, over-done tale of redemption that we can all see coming a mile away. Scott has a vision and a dream, and with a dumpy, bespectacled amateur (who later turns out to be beautiful) he'll take it to the adults and dance the way he likes or die trying. Fran is so plain that she's been dancing with a girl all along, perhaps because along the way she was mistaken for a boy and was too shy to speak up about it. When an impassionate plea to courage and bravery reveals her Spanish roots, the pair retreat to the railroads to refine their moves with a cultural twist, and come morning, she's removed her glasses and they look like a completely different couple. Earnestness is what keeps the film going. Just look at how Liz storms into the room with tears in her eyes to proclaim that she's been dropped (dumped) by Ken, and therefore the end of the world is nearing. Or listen to Federation President Barry Fife anoint the Pan Pacific champions as immortal heroes, a "guiding light" to all other dancers. Nathan and Tina are no longer two individuals, but Nathan Sparkle and Tina Sparkle, one homogeneous ballroom unit, forever to be referred as such. Unlike some of his later, more audacious features, here Luhrmann knows how to keep his distance, because his dancers do all the flaunting and showboating for him. Such a film could never be made in America because Hollywood would turn it into a life-changing experience (Dirty Dancing, Flashdance). Now here are characters that think and dance as if they have leapt right off the Hollywood big screen, and who substitute the hills and skyline for a glittery Coca Cola billboard. They've brushed off their humble beginnings (the banners say Pan Pacific in big gold letters, but they all have Australian accents), and might never amount to anything higher than the fleeting glory of the ballroom floor, but for them it's more than enough. Few films are as openly honest about its intentions as Strictly Ballroom, and that is how you earn the right to use 'Love is in the Air' to close.

SnoopyStyle Scott Hastings (Paul Mercurio) is tapped to be the next champion (at least by his mother) when the reigning champs Ken Railings and Tina Sparkle box in Scott and his partner Liz Holt (Gia Carides). Scott starts doing flamboyant crowd-pleasing steps to get out of the corner but it's not Strictly Ballroom. Australian Dance Federation President Barry Fife (Bill Hunter) is not pleased and Scott loses. Liz leaves Scott to join Ken Railings. Scott's mother Shirley is the ballroom dance instructor, and his meek father Doug does the maintenance at the studio. Frumpy beginner Fran (Tara Morice) loves Scott's new dance moves. While they try out new partners for Scott, he is practicing with Fran.Baz Luhrmann is doing a surreal spoof of a dance movie with some very broad almost slapstick comedy. There is some joy and fun laughing at the characters. The only problem is the formulaic story. It is clawing and almost uncomfortable in its unnerving following. As usual, the frumpy girl is wearing glasses. All she needs is to take them off and have a make-over. The lead guy is a bit too stiff and too serious. Overall, the broad strokes do have some fun and mostly leaves a smile on my face. The formula does get a little tiresome.

secondtake Strictly Ballroom (1992)A campy, glossy, colorful, surprising fairy tale, total romance, lots of dancing, and inventive through and through. No, director Baz Luhmann has not pulled off another Moulin Rouge, which is a whole other order of invention and beauty, but this is his first movie, and it's filled with idealism. And some people to root for and to hiss against--you know, heroes and villains.It could have been tightened up, no doubt--there are times when I was a little impatient even though they were dancing away. But mostly I was happy to watch and wait for the next step toward the big climax.The two young leads, interestingly, came from nowhere (the perfectly named Paul Mercurio and the understated Tara Morice both in their first films). They've gone on to largely television careers, and in part you appreciate how much Luhmann gets from them. The highly stylized approach helps avoid a need for real acting, per se, but Mercurio in particular really rises to the occasion. The whole affair is Australian, and it feels bright and original the way some of fellow Aussie Peter Weir's films do, or in another sense, Peter Jackson.If you can summon up any innocence and romance and go for what really clicks here, be swept up and love it.

lepoisson-1 I sure enjoyed it despite the complete lack of explosions or car chases.Where I'm coming from: I'm a 54 year old male who has danced for 15 years. My girlfriend has danced since she was 3. We don't compete because it would make our relaxing hobby a pressured nightmare (and, frankly, because I'm not very good). My daughter competed and did very well.Some reviewers apparently missed that this movie is a satire and it's supposed to be dumb and funny. Having sat through more competitions than I can count, I can state this movie hits the nail on the head. The parents, the kids, the beginners, the prima donnas...it's all true. Yes, it's really campy and schmaltzy, the plot has holes you could drive a truck through, the acting is sometimes marginal, but we both enjoyed it and laughed out loud.And what's the best part of this movie? The dancing. It is photographed and edited such that you can really see and enjoy the dancing without having constant cutaways to the judges or the audience (as in current American TV dance competitions. I don't know about you, but I watch dance shows for the dancing).There are no deep plot twists to be analyzed, no characters I need to understand better...but we definitely plan to watch this again because the dancing is really good.If you liked this, you will enjoy Best in Show.