Film Review

Director: Kevin Tancharoen

Writers: Allison Burnett (Screenwriter), Christopher Gore (1980 film)

Starring: Naturi Naughton, Kay Panabaker, Asher Book, Collins Pennie, Kelsey Grammer, Megan Mullally, Walter Perez

Genre: Drama

Studio: United Artists

Audience Suitability: PG

Reviewed by Ashleigh Rajala

First things first, I’ve never seen the original Fame, nor the television show, and I’m not entirely sure whether this enhances or hinders my opinion of the remake. My entire knowledge of the original film hinges on my trust in Google. Based on a few factoids I gleaned from the recesses of Wikipedia (Oscar nominations, heady topics such as abortion and coming out of closet), I decided that, unlike the rare, beautiful remake that resonates with echoes of both timeliness and timelessness, this is the far more typical sort of remake. I can be fairly assured that fans of the original are likely to be disappointed, while fourteen-year-olds who find the original dated and unfamiliar are likely to benefit the most from this remake (Remake? I’m not really sure when you’re supposed to say "remake" versus "reboot" these days.). This is the sort of remake that seems purely the result of market forces. Marx would be proud. Clearly someone realized that the High School Musical crowd is entering those precious melodramatic teen years; the years where Disney is too wholesome to be cool, but any old cliché garners sobs of “They’re just like me! Nobody understands us!”

While this remake attempts to be new and edgy, the stubborn infusion of clichés and melodrama - and the insistence at glossing over any issues deeper than broken hearts - is a bit of a let down. Where to begin on the clichés? At times it feels like a roll call of all those Harlequin Junior sort of books I read in grade six. Girl wants to sing but her Mean Old Dad just wants her to play classical piano. Rich white girl falls for artsy guy much to Mom and Dad’s dismay. Girl Next Door type almost seduced by Sleazier-than-first-appeared skeeze. Cute-as-pie couple kiss and make up. It’s all there. We have characters of mixed ethnicities but our leads (the aforementioned cute-as-pie couple) are both apple-cheeked white kids.

At least we are given something refreshing by way of some fantastic performance pieces, with the improvised jam session in the cafeteria being a clear high point in the film. They are entertaining little vignettes in and of themselves, but have no real bearing on the plot. While many will cry that this isn’t really the point of a film like Fame, which, as is encapsulated in its title, clearly argues for showmanship above substance. I would argue that the title leaves the door open for irony; that these performing arts students are struggling for fame but at what cost? Yet, this flashy pastiche remake seems to celebrate fame in and of itself, without irony or reflection. Hence, the cast is composed of extremely talented dancers and singers, among them So You Think You Can Dance’s, Kherington Payne, and various boy band and girl band alumni, who truly bring to life the vivid stage performances. Yet, no one here can act their way out of an ill-timed dance step or missed cue. Any scenes that tiptoe towards emotional weight are flat, slow and best likened to something that was originally covered in bark. The saving grace is in the casting choices for the teachers, with Will and Grace’s Megan Mullally being a noteworthy standout. Kelsey Grammer and Bebe Neuwirth also appear, adding some haughty charm, even if it weren't for the fact that as soon as I saw them in close proximity to each other, I immediately thought of Fraser and Lilith. Fortunately, most of the tween types in the audience won’t even realize who that is.

It is a perfectly calculated film shooting straight for the bullseye of its target market. With a contemporary infusion of hip-hop and hipsters, it tries to update the original with a contemporary “edginess”, yet in its MTV version of glossy pop culture, it completely misses a real edge along with any chance for true social commentary. I imagine the topics of teen abortion and a homosexual character coming out of the closet were edgy in 1980 – in that they shed light on societal truths that were normally confined to the shadows (those things we “just don’t talk about"). Twenty-nine years later, it misses the boat. Abortion is still relevant, and while Fame includes at least one gay character (I think), there are no explicit references to sexual orientation or even sexuality.

Instead, the film has no real impact. It only has that false veneer of “edge,” applied liberally through unrepentant injections of “cool,” especially through its use of hip-hop as a somehow rebellious musical form. The character of Denise, a very talented concert pianist, “finds herself” through belting out hip-hop solos. Somehow she is supposed to be rebelling. As if every kid listened to classical piano and not hip-hop. Apparently, being yourself is being just like every other MTV junkie. Its as if the “cool” of Fame is not actually cool, but just that stereotypical idea of what your mother thinks is cool, and isn’t actually cool to anyone older than thirteen. The art kids are little hipster tweens, which, without devolving into a rant about hipsters pretty much sums up the film. All style, no substance. Which pretty much sums up the essence of fame, I guess, only this film doesn't seem to realize that potential for irony. As far as dance movies and tween Disney fare goes, this one is near the better end, if you like that kind of thing. But, since the closest I’ve come to watching any of those talent contest reality shows is the YouTube video of Susan Boyle, I guess I don't. Even though the dancing, singing, and general frivolity was entertaining, it was a shame it wasn’t framed inside a better film.

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ashleighrajala

 

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