Review of Chorus Line, A

Introduction

Based on a Broadway musical, this is a musical about auditions for a musical. Don`t worry, it all makes sense when you see it.

Michael Douglas plays Zach and talented but somewhat driven and cold choreographer holding auditions for a musical. He needs 8 dancers and hundreds have turned up. The line-up gets quickly whittled down to about 16 and these are then put through an intensive audition that tests both their dancing talents but also their spirit as well.

Zach forces them to strip away the façade that they have built around themselves and reveal the real person. Some can`t hack it, some have been acting so long they no longer have a real personality and some reveal truths so raw that even hard-bitten Zach is briefly moved.

The process gets complicated when Cassie (Alyson Reed), Zach`s old girlfriend, turns up halfway through looking for a chance to prove herself. However, Zach is reluctant to give her the opportunity because he (quite rightly) feels that she is too talented for a chorus line job.

Most of the action is on the stage of a grand old Broadway theatre with Zach sitting in the darkened stalls barking orders and firing questions at the performers.

And only 8 will be successful.

Video

Video is presented in an Anamorphic Widescreen 2.35:1 transfer and looks very good indeed. Being set in a Broadway Theatre, we have both lush, opulent visuals (gold filigree and plush red seats) and plenty of darkness, as the performers look out at Douglas in the stalls. And both are handled well.

Also, being the Eighties, we have plenty of day-glow lycra and leg warmers. We could do with having these toned down a bit, but no, they are shown in their full horror.

The only complaint I have is that the gold costumes in the big finale number seemed muted.

Audio

The DD 2.0 is exceptionally good - crisp and clear on dialogue, and rich and warm on the musical numbers. Even though the stereo sound can`t be as full and expansive as a good 5.1 track, it still manages to impress with subtle sonic cues like the traffic sounds seeping through from outside the theatre. Also, for most of the film Douglas is sitting back in the stalls instructing the dancers. Most times he uses a microphone but occasionally this is switched off and the difference is realistically portrayed.

While the music is well presented, there are two flaws here. One is the lyrics and their delivery - many of the songs are trite and the performers are better dancers than singers (which is intentional). Secondly, the film was made in the mid Eighties and suffers from the synthetic sound that was prevalent then. These sorts of big Broadway numbers should have a big organic sound and not drown in synth squeaks and pops. Worse is the synthetic cascading drum sound that is reminiscent of a filing cabinet being dropped down a lift shaft.

That said some of the pieces are pretty good. "I Can Do That" is a bubbly number that appears towards the beginning of the film and "One" is a glorious and rousing finale.

Features

Trailer

Conclusion

A Chorus Line is a product of the Eighties coming in just at the end of the Fame craze. It is a mass of synth music, leotards and leg warmers. And mullets. Lots of mullets. Not least of all on Douglas himself.

Based on a successful play, the film is a slight pleasure. Director Attenborough crafts an authentic enough mood and generates an appropriate level of energy during the performances but it just doesn`t work.

The performers are reasonable to excellent dancers but are poor actors and, unfortunately, they are forced to act. Their emoting is painful to watch. Only Douglas, Alyson Reed and Terrence Mann (as Larry) acquit themselves well in the acting stakes. Douglas is actually very good as the cold and slightly cruel Zach.

There`s little plot. Dancers audition, most fail, a lucky few succeed. And that`s it. Things aren`t helped by the fact that we don`t care about any of the hopefuls and have nothing invested in their progress.

Attenborough attempts to inject some mid Eighties NYC reality into the proceedings but might have been better off just creating a Broadway fantasy. The fully costumed finale is glorious and, while a bit out of place given the preceding 100 minutes, is the best part of the movie. We should have had more Broadway glitz and fewer mullets.

I`ve a small weakness for Broadway and so my score for content is possibly generous. If you have just watched Moulin Rouge and think you might enjoy another musical, try Cabaret before you try this.