Dancing at the Blue Iguana

OK, so "Dancing at the Blue Iguana" features wall-to-wall naked gyrating women. But don't let that put you off. Despite the subject matter - the lives of five strippers who work in the eponymous club (played by Daryl Hannah, Jennifer Tilly, Sheila Kelley, Charlotte Ayanna and Sandra Oh) - and the frequent nudity, "Blue Iguana" is not a T&A movie. Rather, it's a compelling insight into the lives of the underclass of Los Angeles, or indeed, any one of the world's major cities.

If your cinematic tastes run to tightly plotted fare where all the loose ends are tied up with a big gift-wrap bow in the last five minutes, you'll probably it find frustrating. But if you can appreciate a film in which some issues are never quite resolved and some questions are never quite answered - just like real life - then you may be seduced by the "Blue Iguana".

The film has been panned by so many critics that I must admit I started watching with some trepidation, expecting to be embarrassed for the actors. But I became so engrossed in the world of the Blue Iguana that I was actually disappointed when the film ended.

Much of the criticism of "Blue Iguana" is based on the fact that it was made without a script. The actors started with only two things: the title of the film and the fact that it was set in a strip club. Everything else, they worked out themselves - their characters, their storylines, and their dialogue - in an intense series of improvisational workshops. This approach may be unconventional, but it gives "Blue Iguana" a freshness and immediacy which is rarely found in mainstream films. As Michael Radford explains, improv relies on nailing the scene in the first take; once it becomes too polished, it loses its sense of realism.

The female cast has been another target for critics - not because they're not superb actors, but because, in their late 30's to early 40s, Daryl Hannah, Jennifer Tilly and Sheila Kelley would be too old to work as strippers in LA where beautiful young women exist in a buyer's market. But they bring a depth of sadness to their characters - you can't help wondering where they'll be a few years down the track.

Sandra Oh's performance as Jasmine is a standout. Jasmine leads a double life, stripping on the Blue Iguana stage and secretly writing poetry in the dressing room. After persuading her to read one of her painfully beautiful works at his poetry group Dennis (Chris Hogan) starts to fall in love with her mind. But Jasmine realises the fledgling romance is doomed. In the film's most heartbreaking scene, when Dennis seeks her out at the club, she performs her routine to Moby's "Porcelain" with its haunting refrain "So This is Goodbye". The camera focuses on her face. It's an impassive mask, but her eyes betray incredible sadness. She's wordlessly saying to him, "This is the real me. Do you still want me now?"

Putting aside its improv-based development, "Blue Iguana" succeeds on its own merits. If you want to see a T&A film, rent a copy of "Showgirls". If you want to see a haunting, thought-provoking slice of life, see "Dancing at the Blue Iguana".

This was a movie about the lives of 5 different strippers (Jennifer Tilly, Charlotte Ayanna, Sandra Oh, Daryl Hannah & Sheila Kelley). Supposedly, the original script was intended to be built around Kelley's character "Stormy", but as the actresses got to know their own characters and grow into them, the script was adapted to feature all 5. In fact, I think the Stormy character had the least amount of screen time. It was probably the worst story of the five. None of the five stories stuck out as being great. All were average, thus, the movie was average.

The five co-stars here are all good actresses in my opinion, and that saved the movie from the horrible movie it could have been. One thing I did like about the movie is that the actresses that played strippers were not afraid to play strippers. I mean that in a couple of different ways. First, and in many ways most importantly, they were not afraid to be nude on camera. Usually, even in B-movies, there is one actress who wants to play the character but does not want to do what is necessary to play the character. Lets face it, we watch this movie because it is about strippers, and therefore, we expect to see them strip! The second point I want to make here is that the actresses did their homework as far as how the stripper routines work. They obviously took a class or studied on their own the art of "working the pole" and lap-dances, etc. This gives the movie credibility. Not one of the girls looked out of place dancing in the nude. If I was grading this purely on the striptease portion of this movie, it would get a 10. Pretty good stuff.

Unfortunately, this movie is being graded as a whole, and as far as the plots go, they are not quite up to par. The actresses went as far as they could with the given material and more often than not, the movie dragged on, despite the acting, itself, being quite good. I've just recently noticed Sandra Oh and I have to say, she is a pretty versatile and darn good actress.

Jennifer Tilly also stepped up a bit as the rough, biker chick stripper/dominatrix on the side. She played the most troubled girl at the club, Jo, who had to deal with the fact that she was pregnant, on drugs, etc. Everything that could be wrong with her was wrong with her.

Robert Wisdom also did a great job as the sleazy strip club owner, Eddie. His character was strong and was the guy who kept the girls in line at work.

Overall, this was a pretty average story, despite how well the girls and rest of the cast did. I have a feeling a different cast would have made a complete mockery of the movie. As it is, I give it a 6 of 10.

I would have thought there aren't many ways to make a serious movie about pole-dancers and be taken seriously. The list of stripper-specific life crises is depressingly short. Anything you present in such a movie, any plot twist or character interaction, could take place just as easily in a diner or a hospital or a homeless shelter or, for that matter, an insurance company. The only reason to set it in a strip club is to show actresses with their clothes off so as to draw in the geeks.

The comedic possibilities are endless, on the other hand. There is a scene in this movie in which Jennifer Tilly's character is having a dominatrix session with some hapless male, and one of the other strippers, drunk and battered, walks in on it and refuses to go away and wait tactfully for the session to be over. Tilly alternates between stridently artificial abuse of her "slave" and sincere concern, mixed with exasperation, for the other woman in the room. It reminded me a little of the scene in Deconstructing Harry where Kirstie Alley, playing a psychiatrist, alternately delivers calm professional platitudes to her patient and screams obscenities at her philandering husband in the next room. The problem with Tilly's scene is that battered woman in the room with her. We aren't allowed to see any comedy in *that*.

So, the movie tries to be taken seriously by being mostly grim and depressing. (Darryl Hannah's character is actually painful to watch.) But all throughout the movie one question kept tugging at my thoughts: "Why is this stripper film different from other stripper films?" The answer came at the start of the closing credits, when it was revealed that the movie was largely (totally?) improvised by the actors. That set me back. It accounted for the eerie feeling I had that I was watching some sort of documentary. The actors and the director deserve a lot of credit for trying something like this. The movie is definitely worth seeing.

If you're partial to the documentary approach to feature films, Dancing at the Blue Iguana is one you'll want to grab, possibly from your video store's for-sale rack or any bargain bin that it has tumbled into. It's interesting work and is considerably more than the soft-core porn for which it might be mistaken. The film was also an experiment on the part of the director Michael Radford, who began his film career as a documentary film maker. To remain true to his school, Mr. Radford allowed the principal actresses to map out their own back stories and interactions, then filmed the results. Many people seem to feel this process failed. I must disagree as I think it worked very well. The slight raggedness that resulted simply made the film more convincing to me. It's a thinking person's adult film. Viewers looking for a straight-up porn hit should pass. This film is more about people who have faced certain facts and settled into lives along the underbelly of Los Angeles. The fact that some of them happen to strip is merely coincidental.

Dancing at the Blue Iguana takes an MRI-like scan of life in an L.A.-area strip club, clinically sectioning the lives of the dancers and staff of the club, as well as providing interesting vantage points on the various types that patronize it. There's an elderly gentleman who watches the dancers from ten feet away through opera glasses, understanding that the devil is truly in the details, a Russian hit man who may be targeting one of the dancers. There's even a young woman regular, apparently in the same age bracket as the dancers. The overall slant is so detached, so transparent, that one comes away from the film feeling as though almost nothing has happened. A number of questions are asked but not really answered, but life is that way at times.

The entire cast turns in solid performances that simultaneously reveal both the surface and hidden aspects of their characters but the story really zeroes in on the various dancers, all of whom are portrayed with great conviction by several very fine actresses who have really taken the plunge into their roles; Daryl Hannah's wasted, self-deluding Angel and Jennifer Tilly's freaked and superfreaky Jo to mention just two off the top. There are more. But the real depth resides in Canadian actress Sandra Oh's Jasmine whose character, away from the pole, is a gifted poet in deep mourning for the dead end which her life, due to a lack of faith in her gift, is approaching. When Jasmine is finally persuaded to read at a local open-mike event by the owner of the bookstore where the reading takes place, she blows everyone out the door, including the headlining poetess who is touring behind her newly-published collection. But Jasmine can't be happy because her triumph is simply more proof of her, apparently, terminal weakness and lack of belief in herself, as well as the hate of what that lack has made her. It's a heart-rending performance. (You can catch a glimpse of this little-known actress in the beautifully-done Canadian production, The Red Violin, as the wealthy Asian lady who, with her husband, bids on the instrument near the film's climax.)

Dancing at the Blue Iguana also contains what may be the shortest 75-second sequence ever filmed in which Kristin Bauer's Nico, a touring professional stripper and porn star, whose anticipated guest performance comprises one the film's wispy back stories, takes the stage. The regular dancers all tend to mime various stages of sexual involvement as part of their individual routines; no such nonsense for Nico. When she confronts the hooting, cash-brandishing, SRO crowd, she operates behind a calm, Apsara smile that might have floated off a wall frieze at Angkor Wat. Nico is obviously the girl who really does this stuff for a living. If you were a fan of the great 80's group, Echo and the Bunnymen, as I was, you'll never hear their hit, 'Lips Like Sugar' quite the same way after Nico works with it. Hard to believe that Ms. Bauer is the same lady who played Jerry Seinfeld's entirely mainstream girl du jour in the 'Man Hands' episode, but it is. Her opening at the Blue Iguana is also set up by one of the most unexpected scene-to-scene jumps that I've ever witnessed. Nico's tough as nails but later, in a touching scene with Jasmine, the girl behind the woman comes out. If you find a VHS copy of this very engrossing movie, (It's probably available as a DVD.) you may want to have it duplicated to provide a backup when you finally wear out the tape under Nico's scene.

This movie is a film that has a lot of heart to it in a industry where most women are viewed as tramps and bimbos this movie actually shows that strippers have their ups and downs just like women in every other profession. The plot may have lacked at times as other commenters have stated but at least this film is a breath of fresh air from many of the typical strippers being stalked and killed and explotative Cine-porn films out there. Strong performances from Sandra Oh and Jennifer Tilly and up and coming actress Charolette Anyanna is a stand-out as well. Please before you judge this film too harshly look at the other films that represent strippers in cinema as nothing more than T-n-A and you'll realize this movie is just trying to show them as women with the same joys and heartbreaks of life as everyone else.