After a series of Broadway flops, songwriter Bert Hanley (Dixon) goes to work at a musical camp for young performers. Inspired by the kids, he finds an opportunity to regain success by staging an altogether new production.
Murderesses Velma Kelly (a chanteuse and tease who killed her husband and sister after finding them in bed together) and Roxie Hart (who killed her boyfriend when she discovered he wasn't going to make her a star) find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.
Misfits in their lives back home, a group of young people live it up at musical-theater camp. While the sports counselor is completely ignored, the kids' spend all their time in rehearsal for a grueling schedule that involves a new show every two weeks. Several personal stories come to the fore. Is talented golden-boy Vlad honest in his feelings about Ellen? Can cross-dressing Michael have a relationship with his parents? Will one-hit-wonder musical playwrite and now camp counselor Bert Hanley remain mired in drink and cynicism? Fireworks are in store when Fritzi, who slavishly serves glamour girl Jill, is finally told to get a life, and the parents of Jenna, whose jaw has been wired shut in a compromise to avoid being sent to "fat camp", learn a valuable lesson at the summer's big end-of-season benefit. Written by
Martin Lewison <email@example.com>
When Fritzi reintroduces herself to Jill at the start of the movie and Jill fails to remember her, Fritzi reminds Jill that the previous summer, they had been in the play "'night, Mother" together. The joke is that "'night, Mother" only has two actors in it, and is an extremely intense, wrenching, emotional experience (it is about an adult daughter preparing her elderly mother for the fact that the daughter is going to commit suicide), so there is no way that Jill could have forgotten having already met Fritzi without Jill being incredibly self-absorbed. See more »
When Jill is in dressing room preparing for her "The Ladies Who Lunch" number, neither her wig styling or costume matches what she is wearing when she appears onstage moments later. See more »
[scene opens on Dee, Shaun and Company singing "How Shall I See You Through My Tears"]
[as singing continues, scene shifts to Vlad in his bedroom]
To all the critics out there, I know they're gonna review this, and I know they're gonna try to knock me - is it OK if I say this to the camera, Amber? - Okay. I only am who I am 'cause I was born that way. I have a gift, and I'm trying not to be selfish about it, but to use it. Okay? If you're gonna knock me for that, that's your problem....
[...] See more »
Camp was definitely the movie of the year that I would go see again and again and buy the soundtrack the minute I saw it on the shelf. A delightful memoir and tribute to what it's like to be young and hopeful about a career in the arts.
This movie is beyond words when it comes to being a unique feel-good movie. At some points, however, I felt like the kids were almost unbelieveable as angsty teenagers. The plot seemed a little disjointed too; Vlad's character continually reveals more complexity and conflict up until the very end, and I felt like I was just getting to know him when the movie finishes. However, they pale in comparison to the excellent musical numbers and sheer emotion that reaches beyond the kids' ages.
Graff made a gem of a movie. For anyone who's into musical theatre, or was when they were younger, can relate to this movie. If you haven't, you see a pretty picture of a movie, with spectacular musical numbers ("Ladies who Lunch," "Turkey Lurkey Time," "Want of a Nail"). My only qualms with it are the gay stereotypes seemingly sticking here, and a couple other inconsistencies of character. But nothing much. See this film; it's a great release and will keep you inspired for a while.
3 of 5 people found this review helpful.
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