Strictly Ballroom - Wikipedia
attempts at sabotage having little effect, Scott and Fran complete their spectacular dance Strictly Ballroom is an excellent choice for comparative study as it is. Strictly Ballroom is the story of Scott Hastings (Paul Mercurio), and his She's only a beginner dancer, but when Scott loses Liz, Fran asks to dance with him. in their relationship, and as Scott learns he doesn't know everything. .. Psychology (7); Purity Tests (5); Race Relations (64); Rebuilding the. The use of the 'dissolve' editing technique links the headline to Scott's world, as an Fran moves the red curtain back for Scott to see STRICTLY BALLROOM.
Ted Albert was a leading record producer and music publisher, best known in Australia as the discoverer and original producer of s pop sensations The Easybeats.
By the time he saw Strictly Ballroom, Albert was the managing director of his family-owned music publishing company Albert Music formerly J. Albert's wife Antoinette known as "Popsy" took him to see the play after seeing a newspaper ad; they loved the energy, colour and musicality of the play and Ted Albert immediately saw the potential to develop the play into a film using the musical resources available to him through Alberts' publishing and recording enterprises.
Luhrmann balked at the move towards naturalism and eventually, with Albert's agreement, the director brought in his old friend Craig Pearce, who was able to translate Luhrmann's theatrical vision into a workable screenplay. The only "bankable names" in the cast were Barry Otto and screen veteran Bill Hunterand although co-star Paul Mercurio was well known as a dancer through his work with the Sydney Dance CompanyStrictly Ballroom was his first acting role. With the original budget set at over AUD 5 million, government film funding bodies were reluctant to back such a left-field project with few major names in the credits.
The script was then pared back and the subplot dropped, but when Miall approached the Film Finance Corporationhe was told that they would not back such a high-budget film in Australian terms with a first-time director. He was told to replace Luhrmann, but he refused, promising to make further cuts.
Miall and Albert then pared the budget down to AUD 3. They sent Luhrmann to the Cannes Film Festival in hopes of finding an overseas distributor, but this came to nothing. After returning to Australia, Miall and Luhrmann had a fortuitous meeting with Andrew Pike, head of the Canberra -based independent distribution company Ronin Films. Intrigued by Luhrmann's colourful pitch which involved sketches, set miniatures and pieces of costume, Pike agreed to back a limited local release, although he later admitted that, had he seen only the script, he would probably have turned it down.Strictly Ballroom - 'New Steps' (HD) - A Baz Luhrmann Film - MIRAMAX
This threw the entire project into doubt, but Ted Albert's widow Popsy decided that it should go to completion in honour of her husband, so she took over as executive producer, with Miall as producer. The Pan Pacific Grand Prix, the event that tears these people apart, is nothing more than a local, amateur dancing competition. This makes lines like the following from Barry Fife wonderfully absurd: Les Kendell sprouts malapropisms every time he speaks.
Shirley is so tan she's become orange. Fife plays the heavy from behind a shockingly bad toupee. Ken Railings, the evil competitor, is an alcoholic hot tub salesman. Even Doug Hastings, the henpecked father, has a terrible secret and a great dance scene. And the cast of dancers are painted and feathered to the absurd. Many compare this move to Dirty Dancing, but the two really are very different.
Whereas Dirty Dancing was entirely serious, Strictly Ballroom is thoroughly tongue in cheek. I also must say the choreography in Strictly Ballroom is superior.
Strictly Ballroom: Cheat Sheet
Dirty Dancing was very typical Hollywood. It was designed to be flashy and, where it was meant to be sexy, it was obvious and oversexed.
The dancing in Strictly Ballroom, by comparison, showed tremendous technical skill. You felt like you were peeking in on dancers testing their limits in private, as compared to Dirty Dancing which felt staged. And unlike the over-sexed Dirty Dancing, I would describe the dances between Fran and Scott as intimate and sensual.
Dirty Dancing strikes me as the kind of dancing that would be fun to watch, but Strictly Ballroom strikes me as the kind of dancing you wished you could do.
So how does Ayn Rand fit into this?
Commentarama: Film Friday: Strictly Ballroom ()
Scott, like Roark, is a true talent, a savant. He's also unorthodox, seeing a better way. They see him as a threat to their way of life. His talent exposes the lack of theirs, and they would rather society be deprived of what he can achieve than have their own deficiencies laid bare. Thus, they try to sway him, they try to threaten him, they even co-opt those closest to him.
Yet, in the end, Scott, like Roark, decides he would rather see his dream destroyed and lose the Gran Prix than sacrifice his principles. In this way, Strictly Ballroom is The Fountainhead only with the 14 hour ending speech by Roark replaced succinctly by Scott with: Maybe this is why Strictly Ballroom resonates so well? Maybe this is why Strictly Ballroom is so much more than your typical ugly duckling movie? Perhaps, it's the Randian message of defeating the oppression of the mediocre, of letting the savants set their own standards, that drives this movie home?
After all, we can all relate to having been frustrated by people who lacked our vision. Or maybe, we just liked the music?