Before "Dancing with the Stars," there was "Strictly Ballroom," a 1992 Australian film written and directed by Baz Luhrmann and starring Paul Mercurio, Tara Morice, Bill Hunter and the late Pat Thomson, who died before the film was released.
There's not much of a story - it's about an innovative dancer, Scott Hastings (Mercurio) whose parents (Thomson and Barry Otto) run a dance studio. The beginning is done in documentary style as his mother, Janet Leigh on crack, relates, her voice trembling with emotion, that it's Scott's year to win the Pan Pacific Grand Prix dance competition. Unfortunately, during the regionals, he broke out and did non-sanctioned steps, and his partner deserted him. This is all treated with the seriousness of a brain operation, which makes the film even more hilarious. A nerdy girl named Fran approaches Scott in the studio and asks to partner with him. He gives her a chance, and then needs to make a decision - win the Pan Pacific or do his own thing on the dance floor. On the way to the competition, some family secrets are revealed, and he and Fran fall in love.
Told with hilarity, poignancy, and beautiful dancing, this is one of the all-time great dance films with Mercurio's electrifying moves, hot body, and good looks raising it to a very high level. Luhrmann's fast-paced and creative direction makes the film fly by. Some of the photography is spectacular: dancing in front of the neon Coca-Cola sign, Scott learning the paso doble from Fran's relatives as a train passes by, a kiss at twilight, and the color-mad, cartoon-like flashback scene near the end of the film. The dance sequences themselves are fabulous, with the outrageous costumes, wild hair and beautiful steps.
All of the performances are good, but my favorite by far is Thomson as a former ballroom star who puts on her "happy face" though her heart is breaking, i.e., Scott doesn't have a partner, Scott won't dance the correct steps - her constant near hysterics and overly dramatic concern are fantastic.
The undertone of the film concerns the slimy, toupeed head of the regulatory committee Barry Fife (Hunter) who wants ballroom dance to remain conservative and by the book. Given the interior battles in the ice dancing arena, it wouldn't surprise me if such a thing exists in ballroom as well. No selfish, crowd-pleasing steps! Just make it -strictly ballroom. If you've never seen this gem, go out and get it.
There's not much of a story - it's about an innovative dancer, Scott Hastings (Mercurio) whose parents (Thomson and Barry Otto) run a dance studio. The beginning is done in documentary style as his mother, Janet Leigh on crack, relates, her voice trembling with emotion, that it's Scott's year to win the Pan Pacific Grand Prix dance competition. Unfortunately, during the regionals, he broke out and did non-sanctioned steps, and his partner deserted him. This is all treated with the seriousness of a brain operation, which makes the film even more hilarious. A nerdy girl named Fran approaches Scott in the studio and asks to partner with him. He gives her a chance, and then needs to make a decision - win the Pan Pacific or do his own thing on the dance floor. On the way to the competition, some family secrets are revealed, and he and Fran fall in love.
Told with hilarity, poignancy, and beautiful dancing, this is one of the all-time great dance films with Mercurio's electrifying moves, hot body, and good looks raising it to a very high level. Luhrmann's fast-paced and creative direction makes the film fly by. Some of the photography is spectacular: dancing in front of the neon Coca-Cola sign, Scott learning the paso doble from Fran's relatives as a train passes by, a kiss at twilight, and the color-mad, cartoon-like flashback scene near the end of the film. The dance sequences themselves are fabulous, with the outrageous costumes, wild hair and beautiful steps.
All of the performances are good, but my favorite by far is Thomson as a former ballroom star who puts on her "happy face" though her heart is breaking, i.e., Scott doesn't have a partner, Scott won't dance the correct steps - her constant near hysterics and overly dramatic concern are fantastic.
The undertone of the film concerns the slimy, toupeed head of the regulatory committee Barry Fife (Hunter) who wants ballroom dance to remain conservative and by the book. Given the interior battles in the ice dancing arena, it wouldn't surprise me if such a thing exists in ballroom as well. No selfish, crowd-pleasing steps! Just make it -strictly ballroom. If you've never seen this gem, go out and get it.