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Archive for the ‘Cher: Screen Goddess’ Category

Burlesque

29 Nov

Burlesque – directed by Steve Antin – a musical about farm girl with hidden talent who comes to L.A and tries to break into Show Business – 118 minutes color 2010.

* * * * *

Cher is perfectly cast as a Burlesque Queen which is what she is and always has been. She is a National Treasure, so we must seize any opportunity that comes along to be in her presence. She is especially good in the first half of the picture in her relations with the extraordinary Stanley Tucci who has won so many Academy Awards it would not be fair to bestow another on him for this delicious performance, and the excellent Peter Gallagher, her former husband and present business partner. Cher declines in interest as the plot not just thickens but curdles around her, for she is in peril of losing her nightclub, oh dear, and Will Not Sell Out. The director should have told her that Tigresses do not weep. Otherwise the piece is very well directed and beautifully filmed, and one feels that a major musical is in hand. The duties of the plot eventually forbid this, of course, but at least we have Cher, in very good voice, singing two songs, the second of which is indecipherable because her enunciation is, as usual, blurred by her vocal production. However the principal player here is one Christine Aguilera, whose vocal quality is similar to Cher’s. She has one Big Number after another, and she is impressive, and these are set on a stage which it is conceivable could hold them. However they are show-off-edited, such that the cuts prevent any single number from registering, so you never can tell what the performer is actually accomplishing. One good part of that is that the off-stage stories are spliced into these numbers at times, which works for the stories if not always for the numbers. For by praising the feat, the editing distances us from experiencing the feat of such performances, and , by giving us canned admiration, forcing us out of  admiring it for ourselves. The dancers and singers are full of beans and beyond-talent, and that does satisfy. Burlesque, in the old days when there was Burlesque, was live-theater in which dirty-joke comics alternated with ladies who disrobed or almost avoided disrobing. In this version the numbers combine the dirty jokes with the witty songs and parodic dances, all of which is dandy. The only striptease is performed by Cam Gigandel who is our heroine’s beau, and who takes it off all the way at one point with great comic effect. He has a mighty fine figure and is a deft and imaginative actor and a good looking young man, perfect in his scenes, and perfectly cast. I hope he has a future. We need a great big smashing musical every year, and this year, this is it!

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