Ballroom - Gara di ballo

The first time I saw Strictly Ballroom I tuned in accidentally to the grand climax while flipping through my cable channels: I was transfixed, and when the ten minutes was over I felt emotionally spent and stimulated at the same time, as if some door had been opened in my psyche. I knew I had to find the movie and watch it in its entirety. Now, fifteen viewings, a VHS tape, audio tape, and music CD of SB later, I happened upon it again tonight (interspliced with Sister Act by Emile Ardolino...), and I again watched the grand climax, with a bit of lead-in, with my wife and young sons. It was just as emotional and powerful as the first time, and I cried yet again. This is a very very special film. Baz Luhrman takes risks that most directors would not dare to, and his movies work because he gets to the heart of the matter, gets to the truth. In this case, the truth is "To thine own self be true", a familiar message told in a fresh and wonderful way. Bravo.

Long before the visually flamboyant director Baz Luhrmann gave us the blockbuster "Moulin Rouge", he made his debut with this quirky Aussie dancecom. The spirit of "Strictly Ballroom" is very campy, tongue-in-cheek and outright parodic, mercilessly skewering the pretentious world of ballroom dance competitions in a way that makes us wonder what planet this film was shot on.

Immediately you might be reminded of the hilarious Christopher Guest mockumentaries (Spinal Tap, A Mighty Wind, etc), but Baz gives this production an extra little push over the cliff. Unapologetically departing from reality, he hits us with a hyper-saturated visual feast, coupled with the fact that the story is set in the 1970s, taking us to the edge of absurdist fantasy. The presentation is almost claustrophobic, in that the entire story takes place on basically just 3 sets: the dance school, the girl's home, and the competition arena), and yet the magnificent use of colorful sets, elegant camera work, and large spaces makes us feel like we're in some sort of bizarre Aussie Wonderland. That's the Terry Gilliam (Brazil) part.

And if that blend isn't bizarre enough, get this. The plot itself is rooted in a very cute John Hughes-ish teen rebel story (Sixteen Candles, Ferris Bueller), thus appealing to our inner misfit youth. The combination is a real treat, and if any of these elements interest you, I guarantee you'll have a wild ride.

The dancing and choreography is absolutely stunning. Paul Mercurio ("Scott") definitely has moves that would make Fred Astaire tip his top hat, and Baz allows for a few long segments so we can take it all in. At the same time, the dance segments don't interrupt the pacing and flow of the story. Somehow it all blends together seamlessly. I have to say, dance, comedy and surrealism is an unlikely mix, but it comes together brilliantly. That's something I haven't seen since the days of Jerry Lewis directing.

"Strictly Ballroom" is one of the most entertaining and engaging movies about dancing I've ever seen. If you enjoy this flick, definitely check out "Razzle Dazzle", another hilarious Aussie dancecom, which also features the lovely Tara Morice ("Fran") but in a role I guarantee you wouldn't recognize her in if I hadn't told you.

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.

It's a love story. It's a story about being yourself. It's story of following your dreams and not giving up. It's a story with DANCING!!

A boy who loves to dance HIS WAY loses at the major dancing competition. Why or why can't he dance like the others. This is killing his mother. No one wants to be his partner now. He is TOO MUCH!

He works as an instructor at his parents dance studio. His mom wants him to dance again, but the right way. His dad doesn't say much. He is too busy reliving his old dancing days when he was happier. There is a girl who dances at the studio who wants to be his partner. She is too plain and clumsy to be taken seriously. Will she ever get the chance?? Will the boy ever make the world see his way?? Will his mom ever chill out?? Will his Dad end up in the Nuthouse??? For the answers to these questions, please get this film.

Seriously, you will love this film. Though it follows closely to the "DIRTY DANCING" story, it is much more than that. The characters are just so off the wall you will laugh your arse off. The love story is kind of sweet, but the DANCING is great!

8 out of 10

This is a very stylized film, a lot of fun, a lot of great dancing. Some of the costumes and performances, within the scope of the plot, are almost painful, yet appropriate. And the upshot of the whole thing is a message we wish we could all live by, every day. I relate to the ugly duckling storyline, and also enjoy the attractive male star! There are characters you love to hate and those who step up when you didn't think they would. The flashbacks are very quirky/funny. I'm sure in Australia this ballroom dancing stuff is taken deadly seriously, so Luhrman probably took a hit for lampooning it the way he does. But the whole thing is a good time that ends up having unexpectedly warm, deep meaning, and not many movies these days can say that.