![]() the opening song introducing characters we never hear from again or the last-act impossibility that himbo love interest Jack wrote the finale number “Show Me How You Burlesque”) the glory of what Burlesque does well outshines any mistake. Even when one can see the film objectively stumble (e.g. Whether it’s a chorus-line tableau or Stanley Tucci getting blasted with a confetti cannon, Burlesque hits every high note it reaches for. Cher and Aguilera dominate the screen the way only legends can, and the rest of the cast hits their marks with unimpeachable precision. Sashaying from one faultless dance number to the next, each song placed perfectly in the emotional swell of Burlesque’s naively nice narrative, I feel safe.įor as much one might say Burlesque does not work for them, it’s hard to argue its elements don’t work together. There’s an ease and confidence to Burlesque’s serenely simple world that produces an almost hypnotically soothing effect. That arc comes with some remarkably theatrical displays of positive emotion, including Ali literally weeping for joy over her big debut.īut I think it’s more than just infectious optimism. There’s the obvious underdog narrative, in which Aguilera’s character Ali effectively wills her dreams of stage stardom into existence. Sometimes I wonder why Burlesque works so well for me, particularly when I feel so bad. During the height of lockdown, I even started working on my Cher impression (though it still needs polishing). ![]() I know every line, every song, and every costume by heart. By the time social distancing began in March 2020, this movie I’d initially only been lukewarm on was a staple in my comfort routine. Then, I got the urge to cue it up when I got bad news or reached a low point in my battle with depression. First, I revisited it when I was sick with a cold, or maybe allergies. Then, sometime later I’d wake up to the credits rolling and wait for it to start again.Ĭommuning with Burlesque in this way became a kind of ritual for me. I’d fall asleep to a dreamy shot of Christina gazing up from under her luscious blonde bangs and singing “I’m a Good Girl” straight to the camera. Some channel was broadcasting it on a loop, meaning I could face the stomach flu I was battling without worrying about missing anything. Years later, I found myself laid out on the couch watching Burlesque again. ![]() I’d been on a Christina kick thanks to the recent release of her album Bionic (2010), but the emotional fever pitch of Harry Potter and the Deathly Hallows – Part 2 had left me with cinematic fatigue. Exiting the theater to the stylings of Alan Cumming (whose Cabaret recognition was totally lost on me at the time), I don’t remember feeling strongly one way or the other. I first saw Burlesque at a Maryland shopping center with my mom over the Thanksgiving holiday. It was called “ epically contrived,” “ hold-your-nose bad,” even “ an affront to all things screenwriting.” But more harangued Burlesque for its overly simple scripting, virtually tensionless plot, and a general sense of smugness. Yes, some applauded the film’s ambition and commitment - spotlighting the immaculate performances of its dueling pop stars. ![]() A high-energy, low-stakes dramedy about a burlesque club facing financial trouble, the musical wasn't a hit with critics. In 2010, writer-director Steven Antin debuted his glittering Cher/Christina Aguilera vehicle to the unprepared masses. Sick or sad, Burlesque has seen me through it all. Welcome to No Shame November ! This week we're diving into the pop culture we love that society tells us we shouldn't. ![]()
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