Flashdance

From AwardAnnals

Reviews

Amazon.com

That Oscar-winning title song buzzes in your ears long after the movie has stopped. The attraction here is youthful spirit and a pulsating score, because the weak story is merely a conduit for the song-and-dance numbers. The plot is every young woman’s daydream come true. Jennifer Beals holds down a macho job as a welder by day, but performs erotic dance numbers in a club at night. It’s not a strip club, so her morality remains intact. She dates her wealthy boss (Michael Nouri) and practices hard for the day she can audition for the upscale, local dance school, even though she has no formal training. It is malarkey, of course, unless you view this as total romantic fantasy. It works because you are carried along by the sheer force of the energetic, boisterous, MTV-style imagery by director Adrian Lyne. Beals is a plus as the stubborn, pouty, somewhat eccentric young woman made all the more interesting for her driving ambition. In the end, she is aided by her Prince Charming, who arrives bearing favors. Mind you, this is not the same as a rescue, as Beals is one rather tough damsel who does just fine on her own. —Rochelle O’Gorman

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Flashdance was the aspirational feel-good movie of 1983, with its thudding Giorgio Moroder soundtrack, Fame-meets-An Officer and a Gentleman storyline and a doe-eyed but iron-willed heroine played by the promising Jennifer Beals. By day Alex (Beals) is a Pittsburgh welder. By night she dances self-choreographed pieces for beer swillers in a seedy nightclub. Then she goes home and dreams of entering the city’s ballet school and a professional career.

Adrian Lyne’s film is full of compromises. It never really gets to grips with Alex’s misfit status in a male-dominated world. And in the end, she is given the leg-up she needs by her boss (Michael Nouri) who won’t take “no” for an answer. That’s called stalking these days. But Flashdance also has some fascinating surreal moments. The infernal qualities of life on an industrial site are well described by good lighting and the dances take on a bizarre life of their own within the film. Beals is often in shadowy long shot for these scenes and, in fact, most of the actual dancing was done by a more qualified stand-in. —Piers Ford