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22 mars 2010
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The day the film version of “A Chorus Line” opened across the country, director Richard Attenborough was interviewed by Jane Pauley on the Today Present. “And what’s this film really about? ” asked Jane. Sir Richard answered, “It’s about kids trying to atomize into present business.”
And there you have everything that’s moral and dismal about the film. Some have enjoyed this film (as you can inspect from some of the other reviews), and even been inspired by the inside leer at young professionals trying to do it to the top, or even impartial earn in the door. I’m very pleased for them.
The only predicament is, that’s NOT what A Chorus Line is about - at least the Pulitzer prize winning stage musical conceived by the slow Michel Bennett. And if the movie’s director is that far off unfriendly, well what you waste up with is confusing series of characters and stories that don’t seem to have a lot of point to them, other than all these folks are auditioning together one afternoon.
Buy,Download, Or Stream A Chorus Line! Click Here
Buy,Download, Or Stream A Chorus Line! Click Here
Kids breaking into explain business? No, A Chorus Line is (was) about top-of-their-career professional dancers trying to procure one more lousy job to support food on the table and injuries at bay, letting them work one more year. And asking the query “Is it really worth the physical harm, humiliation, and invisibility? ” Most had already let go of the dream of being a star - that would have happened by now if it was in the cards. No they were dancers - but what did that mean?
Although the creators concept they were putting a project together in workshop that would appeal only to the Broadway community - audiences strongly identified with the dancer’s stories. The audition became a metaphor for any status where people are treated as interchangeable commodities, whether its on a stage, in an office, or in a factory. We’re all “on the line”.
It’s this core that is missing from the film. The stage musical has three pivotal group numbers: the opening “I Hope I Rep It”, “Montage”, and “What I Did For Cherish”. The rest are individual character songs. (The well-liked number “One”, is really outside the situation, more of a curtain call than a book number.) “What I Did for Cherish” is practically the emotional climax of the explain - the dancers reaching for an respond to the inevitable request of “why do this? ” In the film, however, it’s a treasure ballad for Cassie, musing over her dilapidated cherish for Zach. On stage, the heart of the point to is “Montage”, a single musical number about 15 to 20 minutes long takes the characters stories from the afflict and wonder of childhood related in the first half, through puberty, and into young adulthood. It contains the song “Hello Twelve, Hello Thirteen”, as well as several other themes. It’s not in the movie - replaced with a original (and remarkable less ambitious) song “Surprise”. That leaves only the opening number, which thankfully is smooth there. Unfortunately it pails in comparison to Bob Fosse’s “appropriation” of the plan that he dilapidated to launch his film “All That Jazz” in 1980.
With the major themes shuffled off to the background, what you are left with is the dancer’s shimmering stories, and the Cassie / Zach failed like affair melodrama pushed to the fore. The fancy memoir isn’t any more compelling here than it was on Broadway, where Bennett wisely kept it in the background, only using to add an extra layer of tension to the proceedings. But it is capable to ogle the individual dancer’s stories and songs can tranquil imprint in the film. The slow Greg Burge is riveting in what, on Broadway, was the little role of Ritchie. The film gives him his gain number, the aforementioned “Surprise”. Michael Blevins is sweet as the young Heed, experiencing his first audition. Janet Jones lights up the cover in the little portion of Judy, demonstrating why she was the sole newcomer to go on to other films (and to marry star hockey player Wayne Gretzky) . Broadway old-fashioned Terence Mann (Cats, Les Miserables, Man of La Mancha) is memorable in the cramped fragment of Larry, the assistant choreographer with a heart of gold. Cameron English gives a heartfelt rendition of what is probably the greatest part of writing in the canon of American musicals: Nicholas Dante’s legend of Paul, the young ecstatic dancer who’s family disowned him after seeing him get in a gallop exhibit.
Buy,Download, Or Stream A Chorus Line! Click Here
Buy,Download, Or Stream A Chorus Line! Click Here
Others don’t fare as well, however. Audrey Landers is exactly the Injurious type of vixenish actress to play Ms. Dance-Ten, Looks-Three. The song comes off as improper and slutty. It only worked on stage because these plain things were coming out of the mouth of a dinky blond Drew Barrymore look-alike in disarming pigtails. And Alyson Reed, a unbelievable dancer, doesn’t really register as Cassie. Perhaps if a star had been set in the fragment, it would have justified all the extra camouflage time devoted to Cassie’s chorus girl to star to chorus girl chronicle. But Alyson doesn’t have the correct charisma or face for the camera. Choreography was handed over to Jeffery Hornady, who was the man of the moment after the success of his Flashdance numbers. Enormous mistake. Obviously Mr. Hornaday had never look a Broadway point to, for the dances witness like outtakes from a Wham! video.
So there you have it - add this one to the list of landmark Broadway musicals butchered on film, along side Gypsy, A Slight Night Music, and Man of La Mancha. Maybe someone can convince Chicago film director Acquire Marshall to give us a television version of Chorus Line? It really deserves a do-over.
Back stage note: When Universal studios bought the rights to Chorus Line in 1976, they also hired Michael Bennett as producer (and implicitly as director) . Michael spent over a year and a half working on various versions of the screenplay, but eventually got tired of “taking meetings” and left LA for Modern York where he went to work on Dream Girls. One notion for the movie was to disappear from the modern setting and construct it about dancers auditioning for the film version of “Chorus Line”. He had already approached two hot newcomers to participate. He wanted Mikhail Baryshnikov as Zach, and in a gender switch, Saturday Night Fever star John Travolta in Cassie role. Already that sounds like a more piquant movie.
Good Lord, where do I begin?
I’ve held out seeing this “film” because I’ve seen the Broadway production, as well as a worn-out sad and white beta-video version of the novel cast, and I’m disquieted exiguous was left of the unusual in this “veil version”. I also have a sage in my head told to me by an acting teacher who saw the recent production at The Public in NY before it moved to Broadway. He told me he’d seen it with a friend and both walked around the Village, down to the Financial District and then home to 46th Street in silence because they’d been so moved by what they saw.
The film version is a fine example of what too remarkable success can do to something. As other people have suggested - it might have been better to film the stage version, or better yet compose a documentary about the ground breaking “work-shopping” the point to went through in development. It revolutionzed the contrivance plays and musicals were conceived.
I don’t mean to diminish the talent of any cast member, (well… I could have done without Judy Landers - too positive a choice, and a small too clumsy a performance, as well as Mr. Boring-Hollywood himself, Michael Douglas) as they all, of course, advantageous dancers and singers - I believe some were pulled from the Broadway cast. I liked the actress who plays Cassie very remarkable, but I didn’t like Michael Douglas, and I really hated the fact that they chose to focus on the “Esteem Yarn” of Zach & Cassie. Glean over it! It was an unbalanced relationship! They probably would be at each others throats during the rehearsals for the prove Zach is directing, and when the present ends I imagine Cassie saying to Sheila (her current best friend) “Thank God THAT’S over! I mean… ZACH! WHAT WAS I THINKING?!”
Other reviews have captured a lot of things I could say. If you like this film - more power to you, but know if you look it that it is SO not what the new was. The stage expose came at a time when Broadway was in a dawdle, and some of the themes; homosexuality, sexual experimentation, plastic surgery, etc. were topics that existed but were serene were very taboo, and good of grisly a 70’s audience. It had more relevance befriend then, because it seemed that the dancers’ scrape was a metaphor for “Broadway” itself… what do you do when this is all over? There was collected some romance in being a “Broadway Dancer”. Currently Broadway seems to be nothing but revivals and corporate sponsored “machine musicals” that will acquire money no matter what.
Try to view a touring version, or net the play and read in conjuntion with the fresh cast recording.
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