I know this is the movie that launched both a franchise of many movies, a series, and, probably most notably, Channing Tatum (Smallfoot), but as a movie is it only just OK. And, yes, I know this is Fame-like fantasy. The formula is intentionally predictable and obvious. The relationships, banter, and tragedies foregone conclusions. They only left out sexual confusion and discovery from the standard mix. So perhaps my expectations should be set on acceptance rather than a desire to be impressed. But for all its silliness, the original Fame had a lot more heart and impact because the characters were that much more real.
But, clearly, the focus on street dance and music hit a chord with audiences that continues to last. I can’t say I was bored, and I certainly laughed many times at intended points; I just wasn’t transported. Part of the problem was that the movie was unbalanced, the focus being pulled by Tatum’s character rather than as part of the equilibrium.
Even the director, Anne Fletcher (The Guilt Trip), knew that the real star, or at least find, of this movie was Tatum and not his co-star and eventual spouse Jenna Dewan. Not that she isn’t a solid dancer and a good actor, it’s just clear that the movie is Tatum’s. Need definitive proof? During the final, climactic scene of the performance that Dewan’s character has been striving toward, and around which the entire movie pivots, not only is she not center stage, the follow-spot is always on Tatum and never her…unless she’s in Tatum’s arms. Forgetting the fact that Fletcher didn’t know how to film dance, it was the most distracting element of the movie for me because it was so blatantly wrong for the story and the moment. She didn’t even really use Rachel Griffiths (Hacksaw Ridge) to her full extent, though perhaps that was fair, if disappointing. And even with little screen time, she does make an impression here.
It’s worth noting that, in addition to Tatum, several others got a boost from this flick. Writer Melissa Rosenberg went on to create, among other things, Jessica Jones. Co-writer Duane Adler went on to do several more in this series and other dance films, having found his niche. Damaine Radcliff leveraged this to go on to several industries and interests. Of course Heavy D and Mario already had careers, but it gave them some nice moments. Mario, in particular.
When you’re looking for some thin romance, and some romanticized stories of the “street” and having it tough but being able to succeed, this may do. It isn’t realistic, it isn’t brilliant, but it is entertaining enough to carry its weight. At this point, I’m probably far too jaded to just give in to the fantasy of it all. For its intended audience of tweens and teens, it’s going to be much more effective.