Slam Dance

I may be a one-person cult for this picture. I have had a soft spot for it ever since I saw the movie on the late show in 1989. Some of the other reviewers for this title have made a reasonable assertion as to why they don't like SLAMDANCE, and interestingly enough, I understand and agree with their decisions. Yes, this movie is a disjointed mess, but it has a strange beauty on a visceral and emotional level; this sets it apart from way too many films made in the decade which threw everything together in order to seem different, regardless of whether everything gelled.

For instance, this film veers uncomfortably from goofy comedy to more sordid material. However, that makes sense as the central character is a cartoonist- a man-child who teeters between the comic book sensibilities of his work, and the demands of the very adult real world (he seldom lives up to his responsibilities). Mr. Drood is a perpetual screw-up; he was barely supportive of his wife and child, and now must deal with unfathomable emotions since he is now implicated in the murder of a fleeting flame.

I've never been much of a fan of Virginia Madsen, particularly because this classy, slightly mysterious blonde has never been given good material... at least until recently. But Wayne Wang understands her screen presence perfectly. The highlight of the film is Tom Hulce's scenes with her (set in the movie's past). These moments with the femme fatale are beautiful evocations of allure, desire and implicit danger underneath the colourful settings- classic traditions of film noir. With their saturated hues and sexy jazz soundtrack, these moments work on an almost dreamlike approach.

Even though SLAM DANCE is a dog's breakfast of styles and tones, this segment is nonetheless indicative of the film's success on a completely non-literal level. Yes this is another 1980's quirky film which has the obligatory cameo by a punk musician... and the "hip" quotient also given by a Harry Dean Stanton role, but there's just something more about it that makes not just another curiosity piece. The first time I saw it in 1989, I was with two others who didn't like the movie at all. As much as I could understand their reasons why, I still feel that this odd duck of a movie has that special "something"... and I have still felt that after repeated viewings. It either works for you, or it doesn't. It just depends on whether the film hits you on the right emotional level.

If you looked up this title because you have a strange attraction to this picture, you're not alone.

Terrific cast including Tom Hulce, Mary Elizabeth Mastrantonio, Virginia Madsen, Harry Dean Stanton, Millie Perkins and rock star Adam Ant is wasted in this lackluster wrong man/blackmail drama (its title apparently picked out of a hat). Hulce, looking like something that got caught in the clothes dryer, plays a Los Angeles cartoonist whose affair with a murdered girl involves him a scandal that sucks him into a whirlpool of danger. Early effort from director Wayne Wang (who later helmed "The Joy Luck Club" and "Maid in Manhattan") is all sleek '80s style and posturing with zero substance. NO STARS from ****

Hulce is a great actor who eventually fell off the face of the earth after an Oscar worthy performance in Amadeus. Wasted talent on this dud. Boring movie.

Whatever they thought of this movie when it came out is simply snow blindness to the fact that it carries the very best qualities of noir mysteries of the 40's and 50's. Trailing in the same path that made many movies of this genre infamous,the leading character's effort to untangle the web of double-cross, lies and deceit surrounding him, and redeem himself, is no less engaging than in any of those films, and the plot doesn't have a single point of silliness or implausibility that often marred Hollywood products of the 80's, or any other decade for that matter. Slam Dance uses the neon and metallic backlit of the Los Angeles skies to underscore the desperation surrounding the inhabitants of this Lost story who often mix pleasure with deviancy, loneliness with crime and love with murder.

The dance of chaotic moves is a metaphor for Drood's life, and resistance to be pushed over, until he finds a purpose and is brought back after the purgatory of redemption to the memory of the woman that loved him and the family that centers his world. It certainly didn't appeal to the superficial audiences back in the day, saturated by ridiculous plots and one dimensional characters. Slam Dance doesn't have any of these, it's the "Touch of Evil" of it's time. Don't read empty reviews and be sure to give it a look, you won't be disappointed.

'Slamdance' is a frustrating exercise! A good director (Wayne Wang - 'Smoke') and an interesting cast, led by Tom Hulce ('Amadeus'), are dragged down by a rambling and dull script from actor/writer Don Opper (previously responsible for the inexplicable cult movie 'Android'). All your standard noir elements are here - a sexy blonde with a double life, a hero in way over his head, a murder frame, corruption in the police force and even higher, but Opper manages to make it all so boring you can't wait for it to end!

I mentioned the interesting cast, and that is the only reason for sitting through this. It includes legendary character actor Harry Dean Stanton ('Repo Man'), punk rockers turned actors Adam Ant and John Doe ('Boogie Nights'), Robert Beltran ('Eating Raoul') and the too little seen Millie Perkins ('The Shooting'). Virginia Madsen ('The Hot Spot') also appears in flash back only.

'Slamdance'? I'll sit this one out, thank you.