Fame

Kevin Tancharoen's rambunctious first feature film (after directing a series of music TV shows like "The Pussycat Dolls Present: The Search for the Next Doll") isn't as mawkish or amateur as you may expect. He may not have Martin Scorsese or Steven Spielberg looking over their shoulders, but Tancharoen clearly knows how to shoot a dance sequence. Thankfully he understands what the audience want from a movie like this and it isn't lengthy conversations or scenes to showcase the young stars' acting chops, we want exceptional dancing mixed with an ear-pleasing soundtrack. From that standpoint this first-timer delivers.

We meet the characters during the introduction as they audition for a spot in the highly sought-after academy, each one of them showing their obvious skills over a well crafted montage that establishes the tone for the rest of the movie. From there we go from one rhythmic set piece to another, of varying enjoyment levels, with the absolute highlight coming from a Halloween party boogie at the halfway point. The gigantic finale goes for broke however doesn't quite reach the heights it should. Also worth noting is Tancharoen's ability to ensure non-dance enthusiasts (like myself) will be entertained no matter what art form is on display; those who think they could never take pleasure in ballet just try and not be entranced with the routine led by the lithe Kherington Payne in the second half.

Every film needs a plot and character arcs mind you and this is where Fame's failings become quite evident. The massive ensemble cast is simply too big; trying to follow the amount of individuals on offer is often frustrating. When you start to like someone they disappear for 30 minutes whilst we see the other dozen or so stories unfold, and only randomly do they intersect each other. Of the young cast Kay Panabaker, Asher Brook and Paul Iacono are the pick whilst the wise and wonderful teachers are best served by Bebe Neuwirth and Charles S. Dutton.

So how much is the final result affected by the hit-and-miss acting (the romantic scenes between the teens are excruciating), unfocused screenplay and ridiculous reasons to break out in song and dance? Not all that much to be honest. A film that can be this fun to watch doesn't deserve to be hung up on faulting elements such as these. Go in expecting a collection of enthralling dance numbers and you will be walking out a satisfied customer.

3.5 out of 5 (1 - Rubbish, 2 - Ordinary, 3 - Good, 4 - Excellent, 5 - Classic)

Don't be fooled by the trailers, Fame is not as dazzling and inspiring as it may seem. Strip away the fancy lighting, music and camera work and you're left with nothing less than a cast of one dimensional, mundane, and unlikeable characters. The movie doesn't give enough time for any of the characters to develop and therefore, I ended up feeling like I barely knew the characters at all, even at the end of the film. I don't even think I could name all of them. The actual script and dialogue is not any better and the plot feels forced and irrelevant to what the movie claims to be about. From the looks of it, no one in the movie is cut out for actual "fame" with the exception of Payne's character who is portrayed as an arrogant and selfish dancer. The cast had a lot of potential to become very likable characters but because of the poor script, their performances fall flat and feel fake. I entered the movie with hopes of being entertained even if it was on a strictly "crowd pleaser" level. I left feeling like I had just wasted an hour and a half of my life learning that "success is love." There are no real resolutions to any of the character's trials and tribulations. Life must suck at this performing arts school because no one learns anything particularly profound or life changing. Don't waste your time with this movie, and if you still want to, at least wait for it to come out on DVD. The large screen, dark theater, and popcorn won't make this movie any better than the dud that it is.

Definitely, a niche movie that only relates to teens already in the performing arts. To me it felt like the writer crammed 4 seasons of Degrassi or all 3 High School Musicals into 140 minutes. All in all, there wasn't a sufficient amount of time to flesh out any aspect of the movie.

Way too many characters. Dull musical numbers. Bland choreography. Uninteresting AND unnecessary romantic subplots.

The movie should have focused more on the professional growth of each student over the course of freshman year by really spotlighting the student/teacher dynamic.

Instead the movie flaunts the futile personal endeavors of each student over a four year span at a prestigious academy. So by the end, the high school backdrop felt completely pointless because the students learned absolutely nothing to separate their senior level experience from the original insecurity of their auditions.

I saw this film by myself in the cinema which gave me the chance to really focus on it-since I went to an early show. I thought the film would be a flop-I was kind of just killing time-in a nutshell. Surprisingly, I found the film very well done, hard and soft in all the right places-and bang on in its portrayals of the disciplinarians that exists in many American families. I was completely blown away by some of the music in the film. All in all I had a really good time and wasn't expecting to at all.I saw the film Rent when that came out and I was expecting to have a better time than I did at it-I found Rent depressing whereas this one was really very life affirming in many ways.I guess you either get it or you don't, just like you either appreciate the better dance and trance tunes or ya don't.

The original "Fame" (the 1980 movie), really affected me at the time it appeared. The reason is, I think, is that the coming of age of young people as artists is much grander than the ordinary sexual awakening. It is driven by deeper urges, and when you see the spectrum (drama, music, dance), some of them are unfulfilled by all of us.

It was extremely well made. It had fantastic songs, lots of interwoven stories with characters that we learned enough about to care (by film standards). What drove the whole enterprise was the open, free energy of these kids. Every one of them burst with connective energy, promiscuously taking risks that are noted several times in the script. The final number is one of the most rousing experiences in filmed song, this despite coming close to the then pervasive Coke "we are the world" meme.

(Folds)

Now this. It is equally amazing. I highly recommend it, especially if you are susceptible to the urge to connect and matter. It shares many of the same plot points, sometimes curiously morphed. It has kids, songs, dancing, performance, etc. But none of the things that worked in the original do here. It isn't a matter of a failed attempt; rather the filmmakers deliberately decided a different strategy.

What happened here, is that instead of investing in the kids, who they are and what they do, the film invests in the space between the movie and us. Its the camera that has energy. Its the images themselves that have character. Its the rhythm of the thing that inserts itself. The yearning is in your desire to enter the thing. It is pretty darn amazing, not just because of the effectiveness of the cinema, but because of the clear intent to transform the energy from the sender to the contract with the receiver.

Ted's Evaluation -- 3 of 3: Worth watching.