Strictly Ballroom: Cheat Sheet | Movie News | SBS Movies
Strictly Ballroom is a modern Australian fairy tale, telling the story of a . But Scott and Fran's burgeoning relationship represents more than just. The feeling of belonging does depend on a strong relationship between people The film 'strictly ballroom' shows a love story between Scott and Fran, the film. Paul Mercurio and Tara Morice in Strictly Ballroom () Strictly Ballroom the Australian ballroom dance community, Scott believes in dancing "his own steps". Fran is a beginning dancer and a bit of an ugly duckly who has the audacity to ask Quotes. Barry Fife: [referring to Ken Railings] Let's not forget, Les, that a Pan.
Musical purists will miss a unified score, but if this is the chief complaint, the musical will surely survive on its heart and pluck, its energy and passion, its incredibly dazzling designs and its terrifically talented cast.
A student play that became a beloved hit movie, the story comes full circle by retuning to the stage, benefitting from the flair, confidence and ingenuity that creative dynamos Baz Luhrmann and Catherine Martin have accrued in the ensuing years.
Strictly Ballroom - Wikipedia
The cherished story sees restless young dancer Scott Hasting yearn to move beyond the confines of the strictly ballroom by dancing his own steps. Scott finds a willing accomplice in wallflower Fran, attaining further advantage from the guidance and inspiration of her passionately rhythmic family. The production values imbued by Bazmark and Global Creatures are nothing short of world class.
And there is no way you would ever see forty performers on stage in a Broadway show.
Ballroom Dancing () - IMDb
Her delectable ballroom gowns not only feature a rainbow of vivid colours, but also sway and bob with fluid beauty. Working from an intricate mythology of his own wondrous creation, Luhrmann has created a cornucopia of colourful characters, which, despite his tendency towards breathless excess, are all mostly grounded in identifiable, empathetic reality.
Energy is kept sky-high, and storytelling is sharper than before, thanks to a stronger integration of music and dialogue. Dance, in a multitude of forms, is as vital to the story as the title suggests, and there seems to be barely a moment without movement.
When all the couples really take flight, it is almost impossible to decide where to look, such is the uniform quality of the dance and the dancers. Orchestrator Elliott Wheeler and musical supervisor Max Lambert have done their best to bind the music into a cohesive score. While the overall sound of the music is quite consistent, the lyrics vary in clarity. The overall staging is notable for the particularly strong collaboration between the creative team.
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.
Strictly Ballroom the Musical review [Melbourne]
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.Strictly Ballroom The Musical - Piccadilly Theatre
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.
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. Even after completion, the team were greeted with stiff resistance from exhibitors: