Flashdance (1983)

Although it has its amusing moments, in eneral the plot does not convince.

This story has more twists and turns than a second-rate soap opera.

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Easily the biggest piece of Right wing non sense propaganda I ever saw.

Watching this film screams 1980's. However this film to me is just as entertaining now as when it was first released in 1983. Alex is a welder by day and dancer by night. Her dream is to be able to enter a dance academy but she is afraid of not only getting in but even applying freaks her out. Alex at times is very mature for her age but at times she acts very immature. The dance sequences in this film along with a great characters and great original soundtrack made this film a huge hit.I am shocked that this film never got a sequel. Even more shocking is hasn't ( as of 2018) there has not been a remake.

So this movie, the first film I saw at the Chinese Grauman's upon moving to L.A., has one of the great 80's soundtracks of all time, in addition to a standard Cinderella story of a struggling dancer who wants to get out of her nighttime exotic dancing job into one of the big dance schools in Pittsburgh. She works as a welder to make a living and deals with all sorts of sexual harassment which she handles like a pro. She's certainly able to take care of herself and nobody's going to mess with her unless she wants to be messed with. She's Jennifer Beals, a sort of here today, whatever happened to them tomorrow sort of star who hasn't quite had the A list career she started off with, but then she hasn't quite faded into obscurity either. I found her very likable and wanted to see more of her, but if there's anything in her career that she'll always be remembered for, at least as a cult actress, it will be "Flashdance".This has a rough around the edges feel to it with its Pittsburgh street life view, and director Adrian Lyne ("Fatal Attraction") gets much of the gritty side of that Pennsylvania city quite right. She has the right man (the handsome Michael Nouri) and the right attitude to succeed in finding her dreams, so what a feeling you know she'll have once that dream is achieved. She also has her own real life fairy godmother (Oscar winning Lilia Skala), so there's never any doubt that this will have the standard Hollywood ending. Kyle T. Heffner is amusing as Beals' struggling stand-up comic pal. While a decent actress with presence, Beals does not do her own dancing which gave this film some bad press when it came out with all of the out of work dancers/actresses possibly more qualified for the role. The music is fun, the energy filled with a really retro 80's atmosphere, and in spite of being cheesy when I look back on it nearly 35 years later, I have fond memories of it.

I give this a reasonably high rating of 6 or 6.5, but that is with some serious caveats. First, more than half of the charm of this movie is nostalgia. If you grew up in the 80s, this movie was cutting edge for a teenager. It captured the feeling of energy and mania at the time in the music scene. On the upside, the characters are sympathetic and you can care about their story if you can overlook the ridiculousness of a few aspects of it. The downside includes those ridiculous aspects, and the fact that the story romanticized a lot of bad things. Like pretty woman, it gives the illusion that if the "bad girl" gets vulnerable enough, a sensitive man will save her. In Pretty woman its a prostitute, In Flashdance its a stripper. In real life, its just not true.

It takes practice to probe ourselves for insight of how we felt about something, it's not easy. Easier to numb ourselves, watch and forget it afterwards, but in this way we never really know anything. This is also in a roundabout way the point behind musicals, easy to be numbed, takes practice to probe and push yourself to create something that is true.The enemy of the protagonist in the musical or dance film then is compromise, mediocrity. It's the nagging worry that life will never amount to something, it will be drowned in routine—the antidote is dance, love, staging the circumstances that will permit purity of expression. In the musical this usually took the shape of showmen and women fighting to stage a show that sublimates the difficulties, this is also the case here, but with a twist.A final show is promised early on, a dance audition that makes or breaks her future (she thinks), failing which she's going to become just another 9 to 5 person chasing after the next bill. The place is glum Pittsburgh, she works in a factory by day. Around her we see the people who have been numbed by failure, lost their color—the failed comedian, her ice-rink dancer friend who ends up on the floor of a sleazy titty bar after a bad performance.They could have done something here. A bleak urban landscape instead of Broadway, the factory as the place where self is constructed to be only another cog in the machine—and yet in this place, dance, expression, sexuality. Her latenight show (she's an exotic dancer by night) struggling to find purity and truth in the midst of cheap thrills, still exhilarating in spite of how viewers consume it. Can dance become routine? Does it matter how the viewers see it?Their twist was something else. The final show is always postponed and the fight to stage it and dream to be someone are dredged from a pseudo Cassavetes desperation about life instead of using the snappy cadence of the musical. A bit of dance in the beginning and end and the whole middle is an hour of wallowing. The idea must have been, first make the viewer bleed, serve us 'reality' instead of a musical fairytale.But what I see is no less of a fairytale. A materialism about the difficulties but when it comes to the last release, the dance audition, we go back to the snappy, idealized Hollywood dance we expected all along. She triumphs of course. An awestruck committee member claps childishly at how good. The slice- of-life was merely an idealized style, a trope rather than commitment, so that it manages in one swoop to kill both the fun and the honesty. Terrible.