TAKE THE LEAD
US, 2006, 118 minutes, Colour.
Antonio Banderas, Rob Brown, Yaya De Costa, Alfre Woodard, John Ortiz, Elijah Kelly.
Directed by Virginia Friedlander.
Almost fifteen years ago, the phrase ‘Strictly Ballroom’ was made popular by Baz Lurhman’s entertaining film about ballroom dancing, the odd assortment of characters who frequented the lessons and the competitions and the demanding rules and protocols required for dancing success. Take the Lead fits into this category of movie entertainment.
It probably has a ready-made audience in the countries where that word ‘strictly’ has become part of the language with the popularity of ‘Strictly Come Dancing’ and the other television programs that promote an older style of dance. In 2005, we saw the enjoyable documentary, ‘Mad Hot Ballroom’, which traced the story of how teachers in New York City took youngsters from underprivileged neighbourhoods, from poor and dysfunctional families and trained them in the arts of competitive ballroom dancing. It was one of those films that are often referred to as ‘inspiring’.
‘Inspiring’ is the word that appears at the beginning of Take the Lead. It announces that it is inspired by a true story. And, it obviously hopes to inspire its audiences. I hope it does.
The story of Mad Hot Ballroom has now been fictionalised, although it is based on the true story and work of volunteer dance instructor, Pierre Dulaine. The age of the students has been upped from the last years of primary school to the last years of secondary. This, of course, gives more dramatic edge to the problems that the students face: absent fathers, drug deals, violence and murder on the streets, prostitution, sullen and surly angers against authority and apathy concerning education.
It should be noted for audiences who might want to go because of the dancing but might be put off by the tough themes that this film is remarkably free of street language – of the kind that is usually warned against. The producers obviously want a wide range of people to come and not to be offended but, rather, to be encouraged and inspired.
Antonio Banderas plays Pierre Dulaine who in real life began this dance project in schools. Dulaine is a widower who trains wealthy youngsters in ballroom dancing. Confronted by the tough attitudes amongst young people, he offers to teach dancing. Teachers are sceptical. Parents object. The principal, a tough and demanding character herself (Alfre Woodard) finally allows him to try, but has no expectations of success.
Take the Lead gets a three star rating for entertainment value. If one were writing a strict critique, it might only get two because it has every familiar character and plot turn in the book. Most of us could have written the plot outline ourselves. But, that it not the point. While a critic looks for the new, the different and the unpredictable, most audiences do like predictability. It is pleasingly reassuring.
It doesn’t really matter if we know that, despite the resistance and the difficulties, Pierre Dulaine is going to convert the students, win over the principal and get the support of the parents. We know that they are going to win the competition against all odds. The enjoyment comes not from finding out what will happen but of seeing the ways in which it all comes out.
Where Take the Lead is different is that it combines traditional dancing with the hip hop trends, with the salsas and the neighbourhood rhythmic dances. It lets us know right from the credits as the beat moves from Gershwin to rap and intermingles the two. For Strictly Come Dancing enthusiasts, there is plenty to delight the eye and the ear – and the added interest of the story of the charming and courteous Pierre Dulaine, of the troubles of the local kids, of the thrills of competition.
For inspiration, Dulaine’s speech to the hesitant parents about how the demands of dance and courtesy can transform their children is convincing and hopeful.
