Baz Luhrmann's Strictly Ballroom [Lionsgate]—the Australian film that opened in 1992 and immediately established the director as a presence in the world cinema—has just been released on Blu-ray. Never having heretofore gotten around to seeing it, I discover that it is pure delight: a heartwarmingly uplifting terpsichorean Cinderella combining exhilarating dance and witty humor that alternates from the sly to the brash. This was the first in Luhrmann's so-called Red Curtain Trilogy of highly theatrical films with a theatrical motif, the others being "William Shakespeare's Romeo + Juliet" and "Moulin Rouge."
The story is simple enough, telling of a talented twentyish ballroom dancer (Paul Mercurio) in small-town Australia who has grown up in the shadow of an overbearing dance-teaching mother. A likely-to-be champion in the Pan Pacific Grand Prix championships, he loses his partner due to his predilection to improvise his own, exciting-but-unauthorized steps. Searching for self-expression, he begins working with the sad sack of the troupe (Tara Morice), with thick glasses and a perennial smudge on her face. We all know what happens, yes; but it happens with grace, charm, humor and even slippers (of the dance variety).
Luhrmann was the son of a small-town ballroom dancing teacher, himself engaging in the activity while growing up, so he knows the milieu. The theatrical roots of the film are inherent. Luhrmann and friends at the National Institute of Dramatic Arts in Sydney developed a brief stage version of the piece in 1984. He then went on to do an expanded version in Bratislava [Czechoslovakia] in 1986, and a final version in 1988 at the Wharf Studios in Sydney. Record producer Ted Albert saw the play, loved it, and decided to film it; Luhrmann agreed as long as he himself was hired to direct.
There has been talk of a new stage version, which would fit right in on Broadway and which under the circumstances certainly makes sense. But "Strictly Ballroom" is instantly available, now, and the new Blu-ray shows off the stunning production design by Catherine Martin and costumes by Angus Strathie. I waited almost 20 years to see the film, which I realized—15 minutes in—was an ill-advised delay.
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