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Inside the Force - (Apr 23rd)
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Part 1 of Baz Luhrmann's Red Curtain Trilogy: 'Strictly Ballroom'. Entertaining! It's as if 'Dirty Dancing' and 'Blades of Glory' had a baby. The comedic parts work better than the more romantic parts, but all in all it's an enjoyable watch - even for someone who holds no interest in dance. It's also extremely predictable, but that doesn't trouble the film one bit. Debutants, like Luhrmann himself, Paul Mercurio (Scott) and Tara Morice (Fran) work well together, with Bill Hunter being the standout support; though he doesn't top his performance in 2003 classic 'Kangaroo Jack'. Sorry not sorry.
Rarely can one movie be credited with resurrecting an entire genre of programming, but this one certainly reinvigorated media - and participatory - interest in the reputationally staid pursuit of ballroom dancing. The young, accomplished and handsome "Scott" (Paul Mercurio) is determined to get to the top and to do it his way. He is not content to stick with the status quo as defined by the ageing committee led by the buffoon that is "Barry Fife" (Bill Hunter). His parents are sceptical, but when he alights on "Fran" (Tara Morice) then the championships are in their sights and the rules are there to be broken. Baz Luhrmann allows the cast and the dancing to do the work here. The dialogue is earthy, and witty at times but for the most part there is plenty of dancing that illustrates well the tough regimen of discipline required to perform at the highest levels in what is generally considered a rather sedate pastime. There are strong supporting characters a-plenty - not least his mother "Shirley" (Pat Thomson) and rather shrinking violet father "Doug" (Barry Otto) to complement the really rather excellent Hunter (and his toupé). It packs loads into ninety minutes and uses a fine soundtrack to help keep the whole thing moving along entertainingly.
**A film that remains fresh and enjoyable, even if the plot suffers from irritating clichés and other problems.** Dance is one of those arts that is occasionally portrayed in cinema, and this film is reasonably similar to others that focus on ballroom dancing and major dance competitions (I'm thinking of the most obvious example, “Shall We Dance”, but there are others). Directed by Baz Luhrmann, it is one of the least acclaimed films of this director's career, but the fact that it went unnoticed does not take away from its qualities: it is undoubtedly a good film to watch and the story it tells us is still fresh. It's not worth summarizing the plot, which centers on a young adult, under intense pressure to win an important dance prize, and the relationship he establishes with his newly discovered dance partner who quickly becomes his girlfriend. However, this young man wants to dance without feeling tied to the meticulous execution of already established steps and choreographies. This displeases the president of the Australian Dance Federation, who sees this creativity as a rebellious act against the codes of ballroom dancing. The film is a very effective romantic comedy, with very witty and engaging moments that work wonderfully well. The energy and joy that emanates is contagious and makes the pace faster, but the romantic plot is cliché and leaves the film predictable to the point of absurdity. If the script has its weaknesses, this is largely compensated by the well-structured and remarkable work of the actors: let's forget the fact that even the glasses of Fran, Tara Morice's character, are an old soap opera's cliché, and see the work that she develops: although it is not an award-worthy effort, it is undoubtedly positive. Paul Mercurio, the main actor, is sullen and even rude towards his partner and other people. We also can't ignore that he doesn't have any kind of charisma (maybe that's why this actor wasn't successful), but he establishes a very good working relationship with Morice, and they develop harmoniously together. The secondary actors had better luck with the characters: Bill Hunter has the right to a very interesting character, with grotesque but well-crafted nuances, and Pat Thomson also did a well-done job. On a technical level, the film stands out not only for the excellence of its soundtrack, where I would like to highlight the version of “Time After Time” (a classic that never leaves the ears of those who lived through the 80s and 90s), but also for the good quality of the sets, costumes and props used. I don't know if the film had a very high budget, but it can be seen that there was a strong and consistent investment in these elements, particularly in the construction of the spaces and the design of the dresses and dance costumes used in the competition scenes.
Working-class waitress Slim thought she was entering a life of domestic bliss when she married Mitch, the man of her dreams. After the arrival of their first child, her picture perfect life is shattered when she discovers Mitch's hidden possessive dark side, a controlling and abusive alter ego that can turn trust, love and tranquility into terror. Terrified for her child's safety, Slim flees with her daughter. Relentless in his pursuit and enlisting the aid of lethal henchmen, Mitch continually stalks the prey that was once his family.
Eight women gather to celebrate Christmas in a snowbound cottage, only to find the family patriarch dead with a knife in his back. Trapped in the house, every woman becomes a suspect, each having her own motive and secret.
On a fishing boat at sea, a 60-year old man has been raising a girl since she was a child. It is agreed that they will get married on her 17th birthday. They live a quiet and secluded life, renting the boat to day fishermen and practicing strange divination rites. Their life changes when a teenage student comes aboard.
In 1980 the black Falashas in Ethiopia are recognised as genuine Jews and are secretly carried to Israel. The day before the transport the son of a Jewish mother dies. In his place and with his name (Schlomo) she takes a Christian 9-year-old boy.
A 14-year-old video enthusiast obsessed with violent films decides to make one of his own and show it to his parents, with tragic results.
The story is set at the beginning of the 20th century in Sicily. Salvatore, a very poor farmer, and a widower, decides to emigrate to the US with all his family, including his old mother. Before they embark, they meet Lucy. She is supposed to be a British lady and wants to come back to the States. Lucy, or Luce as Salvatore calls her, for unknown reasons wants to marry someone before to arrive to Ellis Island in New York. Salvatore accepts the proposal. Once they arrive in Ellis Island they spend the quarantine period trying to pass the examinations to be admitted to the States. Tests are not so simple for poor farmers coming from Sicily. Their destiny is in the hands of the custom officers.
A New York nightclub manager tries to save his brother and father from Russian mafia hitmen.
In Hamburg, Ibrahim "Ibo" Secmez, of Turkish descent, wants to direct the first German kung-fu movie. For now, he makes commercials for his uncle's kebab restaurant. Titzie, an aspiring actress and Ibo's German girlfriend, finds she's pregnant. Ibo is uncertain about fatherhood - compounded by his father's disowning him for getting a German girl pregnant - so Titzie sends him packing. He makes attempts at getting it right, but as the birth approaches, he's still not ready. In the background are three thugs in search of good tripe soup and a Capulet-Montegue feud between the kebab joint and a Greek taverna across the street. Can Ibo be the glove upon that hand?
Augusto and Michaela Odone are dealt a cruel blow by fate when their five-year-old son Lorenzo is diagnosed with a rare and incurable disease. But the Odones' persistence and faith leads to an unorthodox cure which saves their boy and re-writes medical history.
In 1970s Iran, Marjane 'Marji' Statrapi watches events through her young eyes and her idealistic family of a long dream being fulfilled of the hated Shah's defeat in the Iranian Revolution of 1979. However as Marji grows up, she witnesses first hand how the new Iran, now ruled by Islamic fundamentalists, has become a repressive tyranny on its own.
Tanguy is 28 years old and still living with his parents. They think it's time he moves out. He doesn't, so they hatch a plan.