Reviews

This historical drama is very nearly fabulous - but just misses it. It is a famous tale of intrigue and scandal, one that lent fiery fuel to Marie Antoinette's bad reputation, which in turn led to her beheading. It is the story of Countess Jeanne St. Remy Valois, played by Hilary Swank in her first role after winning an Oscar for *Boys Don't Cry*. Perhaps the point was to see how Miss Swank could act while wearing a dress, but the results are mixed, to say the least. Made out to be completely sympathetic, the Countess sees her father murdered and their property taken from them, and she wishes to avenge the wrong done to them. Begging for an audience with the Queen (Joely Richardson *is* fabulous as Marie Antoinette), the Countess is rebuffed. Meanwhile, in an unrelated episode, the Queen's jewelers have designed a magnificent diamond necklace, but the Queen, though she allegedly covets the necklace, does not purchase it, leaving the jewelers in a tight spot. The Countess falls in with an attractive courtier (Baker) and also forms an alliance with Cardinal de Rohan (played magnificently by Jonathon Pryce), who is out of favor with the Queen, and convinces him to buy the necklace to smooth things over between them. Of course, the Countess is planning on stealing the necklace so that she may live happily ever after. Through machinations such a stolen letterhead, mistaken identities and other deceptions, the story comes to a boil when the details of the scandal begin to see the light of day, and unravels the careers of everyone concerned (especially Louis XVI and Marie Antoinette). It is a gripping story in the right hands. Clearly director Charles Shyer's oeuvre is comedy, and he's written, directed or produced many fine ones, such as *Private Benjamin*, *Irreconcilable Differences*, *Father of the Bride* and *The Parent Trap*. But historical drama is not his long suit. The supporting cast, cinematography, costumes and art direction are superb and engaging, but Swank is the weak link in the equation. She is simply not skilled enough to handle the role - she is passionless and wooden, but fortunately there are many scenes without her that sizzle with drama. All in all, there is a great deal of entertainment here, and if you though Hilary Swank was good in *Beverly Hills 90210*, then you'll love her in this.

`This was our last weekend together, and we didn't feel like going to Ft. Sumter and touring goddamn colonial homes! We wanted to go to the beach! And meet boys! And go to wild parties! And dance!' One of the most overlooked but greatest girl-movies all time, *Shag* is a meticulously crafted period piece that takes a look back at the summer of '63 - a hallowed summer cinematically, supposedly representing an innocent America untouched by the coming traumas of the Sixties. It is the story of four girls who have just graduated from high school who hightail it to Myrtle Beach - the forbidden zone of boys and booze. As they whoop it up, each of them has their eyes opened to a reality that is not part of the world their parents laid out for them. `Y'all, I'm *wild*,' Cates' character tells her friends towards the end of the movie, `I guess I always have been - I just didn't know it,' and Cates' youthful beauty and innocence make it completely believable. Hannah seems to not take herself as seriously as her more famous sister does - and her hilarious portrayal of the tight-assed Luanne morphs from rigid propriety to semi-unbridled lust. Pudge finally meets a boy who loves her for everything she is, and Gish has a field day with the character. But it is Fonda's portrayal of the bad-girl preacher's daughter who steals the show. Described by one reviewer as `*Dirty Dancing* meets *Mystic Pizza* meets *American Graffiti*,' as a coming-of-age film, *Shag* is nothing less than enchanting.

`Remember my name.' was the tagline for this movie - but there are not a lot of people in it whose names you'll remember. Such are the quirks of fame.and of *Fame*. The movie and its Oscar-winning eternally-80s title song were a huge hit at the time, spawning a hit TV show and stage show. Irene Cara was a household name - for about five minutes - and never again realized her full potential. But with *Saturday Night Fever*, *Xanadu* and *Flashdance* as evidence, it was clearly an easier time to pull off a musical. *Fame* is a fictionalized but not-entirely-glamourized look at the High School for Performing Arts in New York, we follow the lives of a group of students, each with the burning desire to succeed in their chosen art. From audition day to graduation day, we watch the personal and professional dramas of these actors, dancers, singers, musicians as they struggle to make their way through life while pursuing their dreams - though perhaps director Parker's film *The Commitments* portrays the struggle a little more accurately. Having also made *Bugsy Malone* and *The Wall*, Parker is obviously partial, not only to musicals, but youthful angst. There's Coco, Bruno, Ralph, Montgomery, Doris and Leroy - some charming, some irritating - but just like people we actually went to school with. The score is by the brother-and-sister team of Michael Gore (music) and Lesley Gore (lyrics.yes, *the* Lesley Gore of *It's My Party* and *You Don't Own Me* fame), and it's what makes this story come alive. And it definitely *does* come alive. In addition to the title track, the raucous *Red Light* and the wonderfully gooey *Out Here On My Own* all make this a joyful experience. The fabulous *I Sing The Body Electric* number at graduation makes us swell with joy, and we're as deeply proud as if they were our own relatives.or ourselves. As with all musicals, many scenes require a complete suspension of belief, but once suspended, it's as easy to swallow as ice cream (you mean, they *didn't* really dance on top of taxi cabs in Times Square?!). `Fame! I want to live forever! I want to learn how to fly!' Yeah.I did too. Back then.

She was born in a wagon of a travelin' show, her mama used to dance for the money they'd throw. Yes, it's pre-nose-job Cher in her absolutely wretched dramatic debut, as a sullen and surly hitchhiking runaway with a heart of pressed tin. With her grating voice and punk-ass demeanor, she can often be misconstrued as acting, but do not be fooled - she is simply a marionette in the hands of producer Sonny `Svengali' Bono (whom one can also presume was also the never-heard-of-before and never-heard-from-again director de Paola). Chastity is a disturbed young woman who hits the road to escape her dreary, unhappy life, and finds more dreariness and unhappiness. In this turgid and lugubrious script, she takes her anger out on men by picking them up, leading them on and then `not letting them get anything.' She works as a prostitute without ever having to give up `the goods,' and winds up in a Mexican whorehouse for a lesbian madam who would like Chastity to be something more than an employee. With a creepy introspective/philosophical voiceover narrative by Cher, it is hippie-age BS and you can definitely see her *Gypsies, Tramps and Thieves* period looming on the horizon. Chastity is perplexing in a way that is peculiarly unintriguing, and despite all her woes, she is supremely unsympathetic. Her eventual confession of being abused as a child may have been shocking in 1969, but in retrospect, it is entirely predictable. There are some who will dig deeply to find some merit to this film, but it should strictly be taken as what it is: pure camp - meaning, of course, that's it's hysterically funny while it tries desperately to be serious. Would *you* name *your* child after this? `Chastity.pick her up if you dare.' Indeed.