Review by Leonard Norwitz
Studio:
Theatrical: MGM
Blu-ray: Warner Home Video
Region: B
(as verified by the
Momitsu region FREE Blu-ray player)
Runtime: 2:02:49.153
Disc Size: 31,326,090,503 bytes
Feature Size: 28,900,712,448 bytes
Video Bitrate: 23.08 Mbps
Chapters: 37
Case: Standard Blu-ray case
Release date:
September 28th, 2009
Video:
Aspect ratio: 1.85:1
Resolution: 1080p / 23.976 fps
Video codec: VC-1 Video
Audio:
Dolby TrueHD Audio English 1511 kbps 5.1 / 48 kHz / 1511
kbps / 16-bit (AC3
Core: 5.1 / 48 kHz / 640 kbps)
Dolby Digital Audio English 192 kbps 2.0 / 48 kHz / 192 kbps
/ Dolby Surround
Dolby Digital Audio French 192 kbps 2.0 / 48 kHz / 192 kbps
/ Dolby Surround
Dolby Digital Audio German 192 kbps 2.0 / 48 kHz / 192 kbps
/ Dolby Surround
Dolby Digital Audio Spanish 192 kbps 2.0 / 48 kHz / 192 kbps
/ Dolby Surround
Dolby Digital Audio Italian 192 kbps 1.0 / 48 kHz / 192 kbps
Subtitles:
English, Chinese (traditional + simplified),
French, German, Indonesian, Italian, Japanese, Spanish,
none
Extras:
• Audio Commentary with Alan Parker
• Class Reunion Interview Clips (approx 22 min.)
• Vintage Featurette: On Location with Fame (11:44)
• Fame Field Trip (10:57)
• Theatrical Trailer
The Film:
7
For a long time after the advent of sound it seemed there
were two basic approaches to the American movie musical: The
first, where characters would just burst into song and dance
when the spirit moved them, are classically represented by
MGM in The Wizard of Oz and Singin' in the Rain, and
culminated in the widescreen spectacular spectaculars of
Rodgers & Hammerstein, Lerner & Lowe and Leonard Bernstein
among others. The second, from 42nd Street to Bob Fosse's
adaptation of Cabaret, where the characters are themselves
singers and dancers.
By the 1970s, even after such successes as Fiddler on the
Roof (1971) and Grease (1978), the movie musical (perhaps we
should say the "studio movie musical"), once the staple of
the art form, was gasping what seemed to be its last breath.
All the same, big time directors couldn't resist the call,
and not always with positive results. I think it’s fair to
say that Francis Coppola's Finian's Rainbow (1968), John
Huston's Annie (1982) and Richard Attenborough's A Chorus
Line (1985) are among the great lesser movie musicals of all
time – that is, those that had no excuse to be bad. And the
painful miscasting of the title role for Hello, Dolly!
(1969) - a musical whose moment of glory would wait forty
years (or 700, depending) for a trash collector to discover
it in a long abandoned video format - didn't help matters.
From independently minded sources came fresh ideas that
would reinvent the form: Luis Valdez' Zoot Suit (1981)
retained much of its design from his original stage play.
Herbert Ross's Pennies from Heaven that same year (and its
UK/TV incarnation three years earlier) turned the musical
upside down merging new looks with old songs. Bob Fosse
returned in 1979 with his fantastical quasi-autobiography
All That Jazz, and Barbra Streisand rethought the form in
Yentl (1983) - successfully, I think. More recently Baz
Luhrmann would bend, stretch and smash all the rules in his
2001 romantic noisemaker Moulin Rouge, a movie I admit I
fancy despite good reasons not to.
All of which introduction leads us to Alan Parker, one of
the few current mainstream directors with serious
aspirations as a director of movie musicals. In 1976 he cast
children in Bugsy Malone (I wonder if Parker had compatriot
Benjamin Britten in the back of his mind on this one). Fame
followed four years later with a somewhat older and more
streetwise group of kids. Pink Floyd The Wall (1982) came
next. And in 1991 he would make the masterpiece he had been
rehearsing for the previous fifteen years: The Commitments.
The ambitious and frantically edited Evita followed in 1996.
Fame begins with the kind of cutting that many imitate, but
few do as well or with Parker's understanding. It's one
thing to grant only a second or so per cut to suggest an
excited fervent milieu of dancers and musicians in
rehearsal; it's quite another to make each shot, artfully
lit and photographed by Michael Seresin, count dramatically
so that we know what is going on, why the shot is chosen and
how it fits with the shots before and after. It takes not
just a skilled director, but something of a musician to know
how to use technique to reveal the spirit of the thing. But
just as no amount of careful storyboarding will reveal the
essence of a phrase, no amount of artful editing can make up
for a contrived script, which, in the final analysis, Fame
suffers from in its final reels.
The movie follows the tribulations and ecstasies of several
youngsters at New York's famed High School of Performing
Arts. We see them first as freshman aspirants, some with
their own unique style of protecting themselves from
rejection, others with enough confidence – conceit, might be
a more apt term - to become president. Through its two hours
and thirteen minutes, we see them through each year of
school, finally addressing their uncertain futures as if
they've forgotten more about life than they knew before they
started.
The cast of kids, by and large, were at the time students
and graduates of the High School of the Performing Arts and
the Harlem School of Music & Arts. They look like teenagers,
too, something that, increasingly these days, they do not in
movies in a similar vein. Parker talks about the casting
call for his movie and how he settled on the kids for his
primary characters, especially that of Leroy (Gene Anthony
Ray), who at 18 is competent as an actor and nothing short
of electric as a dancer. Barry Miller plays Ralph, who tries
desperately to impress everyone with fabrications about his
father (at one point Ralph declares his father was a
Rockette!). The transparency of his lies are all the more
painful because he fools no one but himself. You should
remember Barry as the similarly stressed out Bobby C from
Saturday Night Fever.
Paul McCrane is the delicate Montgomery, a pre-Gay Pride
homosexual who separates himself from others at first but
eventually accepts himself. (McCrane gets the last laugh as
one of the few actors in the cast who went on to great
things as an actor in ER.) Irene Cara is perhaps best known
outside of Fame for the TV movie Sister, Sister and for her
Oscar-winning song for the movie Flashdance. Unlike Michelle
Pfeiffer, Maureen Teefy, who plays Doris (the girl with a
mother who can turn “supportive” into a bad word), did not
go on to great things in the performing arts after her next
film, Grease 2. The breathtaking Antonia Franceschi plays
Hilary, a transfer student dancer who just about dominates
every frame she's in. Parker knows it, and doesn't fight it.
She left the movies for a career with the New York City
Ballet for a number of years.
Image:
7/8
NOTE:
The below
Blu-ray
captures were ripped directly from the
Blu-ray
disc.
The first number indicates a relative level of excellence
compared to other Blu-ray video discs on a ten-point scale.
The second number places this image along the full range of
DVD and Blu-ray discs.
I was very surprised by the look of this transfer, which is
considerably more saturated and vivid than I remembered it.
That said, my memory is nearly 30 years old, but the image I
have had in my head was dramatically softer, grainier and
thinner. So I suppose it came as a pleasant surprise to find
a transfer of such snap and clarity. Except for the runaway
black crush, doubtless to increase contrast, there isn’t
much to criticize about the transfer. The transition from
naturally grainy film to Blu-ray is relatively seamless,
without enhancement (except for the crush) or artifacts, and
I found no distracting debris or scratches. On a large front
projection system it comes out very nice, actually.
CLICK EACH
BLU-RAY
CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION
Audio & Music:
3/8
Alas, if only the audio were nearly as good. But even in its
uncompressed format, the audio is flat, canned and
compressed. While timbres are recognizable, and dialogue is
clear enough to be understood, hardly an instrument,
speaking or singing voice has the remotest sense of texture.
When the action moves from indoors to outdoors or from one
room to the other, there isn’t the slightest attempt to
compensate or to make real the effect. The big title song,
which was once a kind of music video itself, now feels like
it has a dynamic range of maybe 5 dB. Maybe. And observe how
the music coming from the speakers on top of Mr. Martelli's
cab doesn't change one iota when one of the speakers is torn
off. I see from the IMDB that the original track in 70 mm
was 6-track. What happened! If this audio mix is a bona fide
representation of the original, I am embarrassed of behalf
of the sound designer.
Operations:
2
The low score is deserved because of the audio/video
commentary. What is needed, but not present, is a separate
chapter stop menu for the "branched" clips of cast members.
As it is, you have to watch the movie in its entirety in
this format with no knowledge of when, where or if the next
clip will come. Alternatively, you could watch these clips –
twelve of them from five of the cast, averaging a little
under two minutes in length – one at a time, after which the
menu has to reset. There is no Play All function.
Extras:
4
Alan Parker has one of those soft-spoken British voices that
is at once articulate and engaging. Fortunately what he has
to say provides a wealth of information about the project,
retrospectively covering casting, locations, concept,
photography and bios on the featured players. He fills
nearly all of the two hours plus and, if you have selected
the option, from time to time and without warning Lee
Curreri, Laura Dean, Gene Anthony Ray, and Maureen Teefy
reflect on their experience in video inserts while the movie
remains on Pause so we are told. From the look of the
actors, these interviews were recorded a good twenty years
or so after the movie, but it would have been nice if they
were dated. The two promo featurettes ("On-Location" and
"Field Trip") look at the real High School of Performing
Arts between clips of the feature film. These two segments
plus the cast interviews are presented in standard
definition, most often in 4:3.
Bottom line:
7
Warner Home Video released this movie on Region 1 DVD this
past September with identical extra features and a music CD
(a nice plus), but so far, no word of a high-def edition for
Region A - thus the advisability of this edition from the
U.K., which is really more recommendable than the various
low scores suggest. It is presently being offered by
Amazon.co.uk for less than the Region 1 DVD.
Leonard Norwitz
December 26th, 2009