# Strictly Ballroom (1992)

### reviewed by
James Berardinelli

                                    STRICTLY BALLROOM
                           A film review by James Berardinelli
                            Copyright 1993 James Berardinelli

    Running Length:  1:34
    Rated:  PG (mature themes)

    Starring:  Paul Mercurio, Tara Morice, Gia Carides, Pat Thompson,
            Bill Hunter, Barry Otto
    Director:  Baz Luhrmann
    Producer:  T. Miall
    Screenplay:  Baz Luhrmann and Andrew Bovell
    Music Direction:  David Hirschfelder
    Released by Miramax Films

Scott Hastings (Paul Mercurio), one of Australia's best ballroom dancers, is on-target for a number of championships until he starts to dance from the heart, abandoning the Dance Federation's rigid steps in favor of his own moves. His partner Liz (Gia Carides) leaves him and Scott is forced to take up with an amateur. Fran (Tara Morice) matches Scott's zest for life, but one question hangs over them as they teach each other about life, love, and dancing: can they win by rejecting tradition?

STRICTLY BALLROOM, based on an Australian play of the same name, was one of that country's biggest 1992 screen hits. It's easy to see why. The movie is funny, energetic, and enjoyable--the perfect film for a night or an afternoon out, no matter what your mood is. While the plot and characters don't boast any special depth, there's enough freshness and originality to hold just about anyone's interest.

The movie has an inventive sense of humor that becomes apparent in the riotously funny opening scenes. Although STRICTLY BALLROOM never recaptures the brilliant irreverence of its beginning, there are still a lot of laughs peppered throughout.

The first half of STRICTLY BALLROOM is better than the second. The final forty-five minutes don't have the same sense of exuberance, perfect timing, and quirkiness. The character of Shirley Hastings (Pat Thompson) becomes less amusing and more annoying with the passage of time, and the wonderful chemistry between Scott and Fran sputters a little.

Nevertheless, even the less-enjoyable parts of this movie outshine the best scenes in many American comedies. From start to finish, STRICTLY BALLROOM is filled with energy and color. The dance numbers are splendidly choreographed and the soundtrack is vibrant and varied. The romantic elements, while skillfully downplayed, are never lost or ignored.

For a film of this sort, it might easily be expected for the most memorable scene to be the "final dance", in which the contest is resolved and the victor decided upon. In STRICTLY BALLROOM, this isn't the case. More magical than the ultimate dance at the Pan-Pacific competition is the sequence where Scott teaches Fran to dance to the tune of "Time after Time". Despite the presence of a too-obvious-to-be-missed Coca Cola product placement, that portion of the film is enchanting.

Both of the lead performers are good as actors and dancers. There's no "stunt dancing" here. Mercurio and Morice (reprising her role in the stage show) are clearly at home on the dance floor. In the acting department, Morice has the edge, but Mercurio doesn't embarrass himself. The two work well together. Also, at least in Morice's case, it's nice to have someone in a starring role who doesn't look like she belongs on a magazine cover. She's physically plain, but her talent gives her a wealth of charisma.

The parallels with DIRTY DANCING are so obvious that I won't bother discussing them. Instead, I'd like to point out some similarities to the 1992 ice skating flick THE CUTTING EDGE, of which I was strongly reminded while watching STRICTLY BALLROOM. Both films focus on love and competition in a similar, lighthearted manner. Neither boasts a cast of well-established names, but the principle performers are all effective. Finally, THE CUTTING EDGE, like STRICTLY BALLROOM, deals with the crushing burden of others' expectations, and the exhilaration that comes from being freed of them.

STRICTLY BALLROOM is immensely enjoyable, and, apart from the slight fall-off during the second half, there aren't many flaws to be found. The movie has color, energy, wit, and style; doesn't demand an inordinate amount of attention; and is intelligent enough to avoid being condescending. All-in-all, it's a fine movie-going experience.

                               Rating:  9.0 (A, ***1/2)

- James Berardinelli (blake7@cc.bellcore.com)

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