When her brother decides to ditch for a couple weeks in London, Viola heads over to his elite boarding school, disguises herself as him, and proceeds to fall for one of her soccer teammates. Little does she realize she's not the only one with romantic troubles, as she, as he, gets in the middle of a series of intermingled love affairs.
The Burlesque Lounge has its best days behind it. Tess, a retired dancer and owner of the venue, struggles to keep the aging theater alive, facing all kinds of financial and artistic challenges. With the Lounge's troupe members becoming increasingly distracted by personal problems and a threat coming from a wealthy businessman's quest to buy the spot from Tess, the good fortune seems to have abandoned the club altogether. Meanwhile, the life of Ali, a small-town girl from Iowa, is about to change dramatically. Hired by Tess as a waitress at the Lounge, Ali escapes a hollow past and quickly falls in love with the art of burlesque. Backed by newfound friends amongst the theater's crew, she manages to fulfill her dreams of being on stage herself. Things take a dramatic turn though when Ali's big voice makes her become the main attraction of the revue. Written by
After Ali's debut as the lead, she asks Jack what he thinks about her outfit. When he stumbles over words, she says "Jack, we're friends for Christ's sake. It's not like we're brother and sister," to which Jack replies "No, we certainly are not." These lines are modern inspired by Jane Austen's novel "Emma," when Mr. Knightley asks Emma to dance and she says "Indeed, I will. You have shown that you can dance, and you know we are not really so much brother and sister as to make it improper," to which Mr. Knightley replies "Brother and sister! - no indeed." See more »
You can hear feedback when Ali is onstage and Nikki sabotages the speakers. There wouldn't be feedback because the speakers have been disconnected. Feedback is usually caused by microphones, not speaker cables. Additionally, since the dancers were supposed to be lip-syncing at this point, the microphones on stage would not be live. Even a voice as strong as Ali's would not be heard over the noise in the bar or the band playing. See more »
He didn't even look me in the eye! He just sat there playing with his wooden thingy on his desk.
The long wooden block thingy.
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The musical numbers reminded me of "Sweet Charity" and the camera moves around the Kit Kat Klub style room like Fosse's camera did in "Cabaret" The similarities stop there. The film is a brave attempt but the writing walks a very, very thin line. Was Steve Antin trying to be funny? Some of the lines were received with loud guffaws and there is no way to know if that was the intention because, personally, I felt like cringing. Never mind. It was fun. Christina has a powerful voice but not film presence and Cher is a fearless icon but she had so little to show for it. The best performance is, without question, by Stanley Tucci. The songs work at the moment you're watching them being performed but I couldn't hum a tune now, 48 hours later, for the life of me. So, I was entertained and in the big scheme of things, I guess that's enough
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