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Burlesque
| Released |
17 December 2010 |
| Director |
Steve Antin |
Starring
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Christina Aguilera, Cher, Stanley Tucci, Cam Gigandet, Kristen Bell, Alan Cumming, Julian Hough, Peter Gallagher |
| Writer(s) |
Steve Antin |
| Producer(s) |
Donald De Line |
| Origin |
United States |
| Running Time |
119 minutes |
| Genre |
Musical |
| Rating |
12A |
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A tiresome cabaret.
Cher has never been the most expressive of actors. Her Oscar winning role in Norman Jewison’s Moonstruck showed her to be a master of subtle, tight-lipped restraint. Today, it’s probable that this style has more to do with necessity than choice thanks to the considerable efforts of her surgeon’s knife. Not that this matters all that much. Burlesque is all about Christina Aguilera; whose acting style (when she’s not singing) could be described as inoffensive but dull.
Aguilera is Ali, a small town girl who flees to Los Angeles to make her fortune. Here she stumbles upon The Burlesque Lounge, a cabaret venue run by the formidable Tess (Cher). There is a love interest (Cam Gigandet), a scheming businessman (Eric Dane) and a jealous rival (Kristen Bell)...I’m sure you could write the rest of the scenario. So far, so Showgirls. But then the story is incidental; with twelve big song and dance numbers, this is a film clearly all about the spectacle.
While there is indeed enough glitz here to scar retinas, the fundamental problem is that the “burlesque” on show here seems to have been castrated. This is the pop take on the genre, lacking the wit, playfulness and sexuality that defines it. The songs are sterile, lacking wit, originality and are distinctly unmemorable. Both Aguilera’s throaty yodel and Cher’s soft rock voice are distinctly unsuited to the style and their performances resound with the echoes of the modern recording studio. In fact, this glossy sheen infects every aspect of the production.
The repeated winks in the direction of Bob Fosse’s peerless Cabaret during the dance routines do not help matters. When Cher appears to sing “Welcome to Burlesque” looking for all the world like a Madame Tussaud’s version of herself, she can only be compared unfavourably to Joel Grey and his troupe of fleshy lovelies. You can quote Fosse in your choreography as much as you like but without his appreciation for the grubbier, fleshier nature of the genre it’s all about as burlesque as The Pussycat Dolls.
All in all, this is one for the Aguilera fanatics only. Unless the prospect of a feature length version of the Lady Marmalade music video appeals to you, stay well away.
- Linda O’Brien |
