Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, May 8, 1993 TAG: 9305080070
SECTION: EXTRA PAGE: C12 EDITION: METRO
SOURCE: MIKE MAYO CORRESPONDENT
DATELINE: LENGTH: Medium
Like "Breaker Morant" and "Mad Max," it takes a well-worn genre - in this case the romantic musical-comedy - and handles it with such originality and energy that the familiar cliches are made new. The fact that most audiences will know exactly what's going to happen couldn't be less important.
The setting is the rarefied, kitschy world of competition ballroom dancing, but the real conflicts in the story are universal - youth vs. age, conformity vs. originality, obedience vs. rebellion.
Everyone agrees that young Scott Hastings (Paul Mercurio) is destined to be the next champion of the Pan Pacific Grand Prix. He's been groomed for fame in the dance world since he was 6 years old. His ambitious mother (Pat Thomson) runs Kendall's Dance School, and the power brokers in the dance world know who he is. But then, during one of the preliminary rounds, he commits a cardinal sin. To the horror of the judges and his partner, Liz, he begins to "dance his own steps."
After the competition, he refuses to see the error of his ways. Liz bolts (in one short, hilarious scene), and all of the adults begin scheming to find the proper new partner for Scott. Fran (Tara Morice), the ugly duckling dance school beginner, sees her chance to become a star. At the same time, Scott's father (Barry Otto) dances alone at night in the empty studio. Why?
Yes, you know how it's going to turn out, but you knew that with "Dirty Dancing" too. One quibble: the conclusion would have been stronger with a reprise of the song "Time After Time," which is used effectively earlier.
Writer and first-time director Baz Luhrmann tells the story with astonishing skill. He juggles several different visual styles and narrative conventions. At various times, the film is satiric, funny, as stylized as a Fred Astaire dance fantasy, realistic and emotionally moving.
The combination shouldn't work, but it does, in large part because of the stars. Paul Mercurio could easily become the next Mel Gibson. He's got the looks, the screen presence and he's a terrific dancer. (He choreographed some of his own numbers.) Though her role isn't as prominent, Tara Morice isn't upstaged by him. As the young couple's fathers, Otto and Antonio Vargas steal all of their scenes.
To judge by the closing credits, this story has gone through several incarnations, including a stage production, with creative contributions from several people. But Luhrmann has been with it from the beginning. As a directorial debut "Strictly Ballroom" is astonishing. As crowd-pleasing entertainment, it's a delight.
\ Strictly Ballroom: ***1/2 A Miramax release playing at the Grandin Theatre. 94 min. Rated PG for a little strong language.
by CNB