Namo come on, i know you seem to like to argue with me but are you honestly gonna try and say that Fame was not a highly acclaimed film that year?
http://uk.rottentomatoes.com/m/fame/
The movie was so higly reviewed that year (in fact it was one of the best reviewed films of the year), to this day the film is seen as a classic, It was praised for its dark depiction of the arts and dangers of instant fame, the score was praised as was the direction and the cast
Like i say, argue with me all you want, but at least know what you are talking about 1st
Yea, unless Coco gets topless in the "guy who saw her on youtube"'s office, I am boycotting this.
lolol poor coco
The Coco scene in the original scarred me. I saw it on HBO and I wondered why the nude lady was crying. It really disturbed me. I was like 10.
awww i can remember been shocked when i 1st saw that scene, it came out of nowhere
2 mins before i was cheering "yeah, coco has an audition" and then i was screaming "why is the nasty man wanting to see her boobs" lol
Broadway Legend Joined: 7/22/03
The critical consensus in the US was that it was a fairly cheesy schlockfest and was received with the same level of dismissiveness as High School Musical nowadays.
The title song, which received ubiquitous airplay on mainstream corporate radio was mostly noted to be a Donna Summer sound-alike.
It was popular with a specific youth demographic who, when they got a little older, started calling it a classic.
Namo you are so wrong
Just look up the reviews from the time, its not hard and you will see what response the movie got
The movie was oscar nominated for its screenplay (im pretty sure they didnt nominate HSM for its screenplay)
1 example of its "fairly cheesy schlockfest" review as you put it
Roger Ebert
Fame is a genuine treasure, moving and entertaining, a movie that understands being a teen-ager as well as Breaking Away did, but studies its characters in a completely different milieu. It's the other side of the coin: A big-city, aggressive, cranked-up movie to play against the quieter traditions of Breaking Away's small Indiana college town. Fame is all New York City. It's populated by rich kids, ghetto kids, kids with real talent, and kids with mothers who think they have real talent. They all go into the hopper, into a high school of kids who are worked harder because they're "special"_even if they're secretly not so sure they're so special.
The movie has the kind of sensitivity to the real lives of real people that we don't get much in Hollywood productions anymore. Anyone who ever went to high school will recognize some of Fame's characters: the quiet little girl who blossoms, the class genius who locks himself up in the basement with his electronic equipment, the kid who can't read but is a naturally gifted performer, the wiseass, the self-destructive type, the sexpot, the rich kid, and on and on. The cast has been recruited from New York's most talented young performers, some of them almost playing themselves. The teachers are familiar too: self-sacrificing, perfectionist, cranky, love-hate objects.
If the character types seem familiar, the movie's way of telling their stories is not. This isn't a movie that locks its characters into a conventional plot. Instead, it fragments the experiences of four years into dozens of vignettes, loosely organized into sections titled "The Auditions," "Freshman Year," and so on. We get to know the characters and their personalities gradually, as we see them in various situations. The effect is a little like high school itself; you come in as a total stranger and by the time you leave, the school has become your world.
If the kids in Fame are like high school kids anywhere, they're also different because they are talented, and the movie's at its best when it examines the special pressures on young people who are more talented than they are mature, experienced, or sure of themselves. The ghost that hovers over everyone in this school is a former graduate, Freddie Prinze, who had the talent but never figured out how to handle it.
The movie's director, Alan Parker, seems to have a knack for isolating just those moments in the lives of his characters when growth, challenge, and talent are all on the line at once. Where did he find his insights into talented young people? Probably while he was directing his first film, the wonderful Bugsy Malone (1976), which was a gangster musical with an all-kid cast. Fame is a perfect title for this movie; it establishes an ironic distance between where these kids are now and where they'd like to be someday, and then there's also the haunting suggestion that some of the ones who find fame will be able to handle it, and some will not.
And there are many more out there
I have a problem with comparing Fame to HS Musical.
I second that Jane2. Fame is a gritty drama, it is nothing like teen flicks today.
Well, I'm not sure if you're putting me on or not, but I think Fame is an excellent film (notwithstanding that I'm in it, lol), and HSM is a laughable piece of fluff.
Broadway Legend Joined: 8/12/09
Wait. What Jane? YOU were in Fame?
calm down! I was one of the Rocky Horror group and we were in our costumes for that scene. I happened to have gotten lots of screen time!
No, Jane, I was totally sincere. I agree with you. :)
Oh, ok! Sometimes it's hard to tell what someone means!
Broadway Legend Joined: 10/19/06
"Hold Your Dreams" is basically "Body Electric" only not as good.
I will see this movie for the teachers. But it won't hold a candle to the gritty drama that the original is. Regardless of what the reviews were at the time, it's probably the best window into 80s NYC, with lots of street shots, that I'll get.
That and it has a reference to "Music and the Mirror" making it awesome in my book.
Jane thats amazing, who are you dressed as?
It is a very gritty film, a great depiction of youth and ambittion which also captured an era.
I'm in the front row wearing my Transylvanian outfit-a party hat, tuxedo jacket, sunglasses. I had short dark hair at the time. Normally I played Eddie, though.
Good times.
How does stopping traffic on a NY street (impossible) to perform a production number qualify as "gritty"?
I mean, NY itself was gritty before the Great Disneyfication, but I don't really consider the movie to be gritty.
I got the soundtrack last night just to see what the fuss was about and my verdict....I like it. It has a good deal of R&B but it's not ALL it has. It has 2 "Broadway" type songs, a couple of vocal jazz numbers, and evern a song that sounds like Regina Spektor. So, pretty much what is popular today.
Well Taz, you unfairly used a production number to make your point.
As for gritty, how about the plot line about Ralph Garcy's sister? The abuse she took? That they lived among drug addicts? And the plot line about the gay guy who got no love or attention from his mother? About the ballerina who became pregnant?
I don't know about anyone else, but no matter how many times I see the closing number at the graduation, it still give me the chills. That scene is one of my all time favorites in film.
I'm going further with this.
How about the love/hate relationship between Anne Maera and Leroy (Gene Anthony Ray , rip.) and what they learned from each other?
How about the enormous pride and support for his son, that came from the dad who was a taxi driver?
How about the lesson learned the tough way by Coco?
How about the girl who was kicked out of the dance program but went on to try something else instead of giving up?
How about the looks on the faces of the graduates in song? Those kids were bursting with pride and joy. And watching it, so was I.
This film eloquently made a beautiful statement about what human can accomplish against the odds.
To me it's like saying Rent is gritty. I suppose some people think it is based on the story elements, but to me it's a musical that appropriates "gritty" subject matter and turns it into a burnished perspective of the world the characters live in.
I feel the same about way Fame. The grittiness is more related to its inherent milieu than the actual themes it explores.
Either way, I love the original film and yea, Body Electric still gives me chills too.
"How about the love/hate relationship between Anne Maera and Leroy (Gene Anthony Ray , rip.) and what they learned from each other?
How about the enormous pride and support for his son, that came from the dad who was a taxi driver?
How about the lesson learned the tough way by Coco?
How about the girl who was kicked out of the dance program but went on to try something else instead of giving up?
How about the looks on the faces of the graduates in song? Those kids were bursting with pride and joy. And watching it, so was I.
This film eloquently made a beautiful statement about what human can accomplish against the odds."
Those are all reasons that I find the movie to NOT be gritty. It's uplifting and hopeful and inspirational.
I agree with you on Rent. But I actually felt something, actually, lots of things in Fame. I think they made their inherent subject matter more important than just using them for musical content or anything else. Fame certainly can't be compared to HSM.
anyway, I'm glad you loved Body Electric!
Oh lord, my not thinking it's "gritty" is in no way comparing it to HSM.
I mean yea, compared to HSM, Fame is X!
I do love Body Electric so much. I still sing along to it.
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