Ballroom Dancing

I'm ripping off another reviewer's title for "Lisbon Story" (the original "good for the soul" movie), but I can't think of a better description for "Marilyn Hotchkiss' Ballroom Dancing & Charm School."

I won't even get into the plot except to say that it's at times surprisingly dark, surprisingly uplifting, surprisingly tense, and just overall surprising. It deals with themes of devastating loss, rediscovery, pain, anger, violence, and confusion but in a way that gets your toes tapping to the Lindy Hop. Watch the movie, and that'll make sense.

If you've gotten past the supercilious title, which doubtlessly scares off anyone in the mood for Saw VIII, and you've gotten as far as the 3rd paragraph of this review which includes supercilious words like "supercilious", then I think you'll get it. This is a movie which explores the veneer of charm which we often use to cloak a deeper ugliness in our lives. But it doesn't do it sarcastically; it actually points out how an occasional ballroom dance may, occasionally, be the cure for the horrors that we experience.

It's no surprise that the filmmakers managed to snare an all star cast, because this is the kind of movie that actors (who aren't solely obsessed with money) would eagerly jump into. Award winning talent like John Goodman, Marisa Tomei, Mary Steenburgen, and some of my personal favorites like Ernie Hudson (The Crow, Ghostbusters) and Donnie Wahlberg (the aforementioned Saw movies) as well as a cameo by Danny Devito really bring this story to life. And of course there's the main character played by Robert Carlyle, an actor whom I'm not familiar with but I'll forever remember his performance here.

As for the dancing itself, no, it's not really a showcase of fancy footwork (for that, you should check out the awesome Aussie flick "Strictly Ballroom") although Donnie Wahlberg does some impressive moves as the hilarious cheeseball Baryshnikov wannabee who needs to button his shirt back above his navel. This is really a human story with elements of romcom, elements of tragedy, elements of suspense, and regardless of how it turns out "good for the soul."

John Goodman is wonderful here. Even though his character is seriously injured and near death, Steve just keeps on telling his story and his mind seems clear, despite all that is going on. Steve even cares about Frank, as bad a shape as he's in! Of course, when he is narrating and we see something else, he sounds perfectly normal. He tells the story two different times, though, and the other time we see at the very beginning of the movie. We just don't get to see that much.

I know Robert Carlyle mainly is a crafty and sometimes gleeful villain, and I'm quite used to seeing him go back and forth between the present day and an earlier life, which is what this movie does a lot. Here, there is one scene that hints at his future, but mostly he is a kind and caring man who also shows he hasn't gotten over his late wife. It's a different side of him, certainly, though he had not played the villain yet.

The scenes with kids are fun and just edgy enough, with the humorous attempts to be "proper".

I've seen Mary Steenburgen in so many great roles. She's kind of flat here a lot of the time, trying so hard to be proper, but she gets an attitude change later. It's still a good performance because that's just how the character is. And she is a wonderful dancer.

Marisa Tomei is quite likable and someone I can support as a potential romantic interest, quite a contrast somehow to a role of hers I saw earlier.

I'm not familiar with Donnie Wahlberg though I've heard of him. He's mostly your typical bully but has a vulnerable side.

A couple of other actors have only a few lines, but they are well known and do quite well. Danny DeVito was Steve's cellmate in prison.

And Octavia Spencer has one line. But she does it so well it's clear she will go on to be highly regarded.

The best thing about the movie for me was the music. No, they're not the original versions of the songs in most case, but the sound of the big band era is back, baby! This movie swings!

But of course not everything here is positive. Not everything will work out the way we would hope and yet some endings are happy.

I had a good time. Mostly.

The film's use of two voices relaying three narrative threads, artfully woven without confusion while maintaining audience interest and focus, could be used as a textbook for compound story structure. If the story hadn't been expanded from a short film thereby requiring this approach, I'd be heaping superlative praise on its inventiveness as well.

Entertaining, well-cast with excellent performances by its ensemble of seasoned character actors, and just quirky enough to offset its sometimes saccharin character, I think this will grow a deserved following when it airs on cable. A solid illustration of the possibility of 'charm' in contemporary cinema, it presented little violence beyond its illustration of an automobile accident site and the language of adolescent boys, and managed a passionate but never prurient love scene under cover of a liberal dusting of flour.

Enchanting!

I caught this film at the Waterfront Film Festival in Saugatuck Michigan. Directed by Randall Miller and a star filled cast, this film was the best of the festival, and may be one of my favorites of the year. The film begins with baker Robert Carlyle driving down a deserted highway. He comes upon a stranger in a car wreck, played by John Goodman, and the two talk with each other, waiting for the ambulance to arrive. Goodman tells Carlyle of his planned reunion with his childhood love at the place mentioned in the title.

This beautiful film is wonderfully acted, with such stars as Marisa Tomei, Mary Steenburgen, Sean Astin, Donnie Wahlberg, David Paymer, and Ernie Hudson. I loved the story, I didn't realize you could do so much with such a simple outline. I loved the structure of the film, the way it was edited and shot. There were some very funny moments, very touching moments, and overall it's just a great experience. Some of the filmmakers showed up for the festival and had some great stories to tell. The movie was originally made 15 years ago as a short film of the same title, and a lot of the scenes from the short film are used in the feature as flashback scenes (I knew I saw Donkeylips from Salute Your Shorts).

I think with such an all-star cast and such a good story, this film will at least get release in major cities. So if you get the chance, check this movie out.

Frank (Robert Carlyle) is a widowed baker, trying to recover from his wife's sudden death. As he is driving the highway, one day, he comes across a serious auto accident involving a single driver, Steve (John Goodman). Told to keep the man conscious through conversation, Frank learns that Steve was on his way to a dance class appointment he made, 40 years ago, with a young girl he had a crush on! He begs Frank, when he can, to go to the Marilyn Hotchkiss Dance and Charm School, find Lisa and tell her why he couldn't make it. Frank does so, reluctantly, much to the surprise of his widowers support group. Once at the school, however, now operated by Marilyn's daughter, Mary Ann (Mary Steenburgen), and featuring a beautiful lady, Meredith (Marisa Tomei), Frank is intrigued. Failing to find Lisa, the baker, nevertheless, goes back the following week, even though Meredith's troubled stepbrother (Donnie Wahlberg) warns him to keep away from his sister. Before long, Frank and all of the widowers are learning to "live again" with the healing power of ballroom dance. But, will Steve remain alive and will Lisa ever be found? This lovely film is easy to recommend to fans of romantic drama and, indeed, all those who admire quality film-making. The story is wonderful, after a slow opening, with some memorable lines and situations. Also, the setting is fantastic, an old but beautiful ballroom, with Mary Ann parting the stage curtains at each class' beginning and following a pattern of etiquette that recalls a different era. As for the cast, Carlyle, Steenburgen, the always lovely Tomei, Goodman, Sean Astin, Paymer, and especially Wahlberg, are made-to-order great. Naturally, the costumes, photography and inventive direction are also strong assets. Want to put a spring in your step and smile on your face? Dance out the door and secure a view soon.