By: debbie lynn elias
As you all know by now, I am not a fan of remakes, especially when remaking an iconic, classic film. Be a film good, bad or indifferent, there is a reason it is a classic, a reason or reasons it is so beloved by the world, and those are reasons enough to leave it alone. But every once in awhile, a filmmaker comes along that sees all the elements that make that film so beloved to generations, and while anxious to put his own stamp on the property, has the good sense and decency to pay homage to the original, remain true to those elements that made the film so indelible in the first place, and just give it a new coast of paint so to speak. That’s exactly what co-writer/director Craig Brewer has done with FOOTLOOSE. Retaining not only the integrity of the original, but the same characters, specific recognizable dialogue, patented dance moves and even the look of certain clothing, with FOOTLOOSE 2011, Brewer and company give us all the touchstones that we remember and that made the original FOOTLOOSE the blockbuster it is, but freshens up the overall film by adding some current music styles, some welcome back story and while this is hard to believe, more dancing than ever.
Ren MacCormack is a fish out of water. A high school senior from Boston, he has just cared for and watched his mother pass away from leukemia. With no father in the picture, Ren was forced to come south to Bomont, Georgia to live with the only family he has, his aunt and uncle and their two little girls. Now Bomont is about as far from Boston as one can get. And I’m not talking geographically. Living in his uncle’s converted office, life is quiet in Bomont, perhaps too quiet. Rigid curfews are in place for teens. And as Ren quickly learns when he gets a ticket, the law prohibits the playing of loud music. No music?? But it gets worse. There’s no dancing either; unless it’s at the church socials where a guy has to dance with his mother and girls must be at least 6 inches away from one’s body. You can’t even buy beer on Sunday and everyone goes to the local Presbyterian Church to be preached to by Reverend Shaw. Ah, yes. Reverend Shaw. A man whose finger is on the pulse of the community and who has the community under his thumb. Whatever Reverend Shaw wants, he gets. Whatever he says, people abide by. And much to Ren’s chagrin, or not, Reverend Shaw also has a daughter, Ariel.
But you know teenagers, where there’s a will, there’s way, and with the crowd in Bomont, music and dancing is what they want more than anything. And thanks to the owner of the diner at the drive-in, they get to play their music and dance to their hearts’ content with none other than Ariel leading the way. Rebellious, always chasing bad boys (like local race driver Chuck), and always wanting to dance, Ariel is everything her father doesn’t want her to be – something that seems to intrigue Ren…as much as he intrigues Ariel, particularly when he puts on his dancing shoes at the drive-in and cuts loose.
With his James Dean look and city attitude, Ren is the bane of existence for Reverend Shaw, the high school principal and every God-fearing parent in town. Why who knows what kind of ruckus this city boy may cause! But Ren keeps asking, “why?”. Why the bans? Why the restrictions? And then he learns why. Three years earlier, Shaw’s son Bobby, along with four other classmates, was killed in a head on collision with a 16-wheeler. They had been partying. They had been playing music. They had been dancing. And in that revelation, Ren also learns what makes Ariel tick.
Already befriended by the football team and his new best friend Willard, Ren gets a wacky idea. Let’s fight the system. Let’s fight Shaw. Let’s change the laws. Let’s dance. And the rest, shall we say, is history.
Stepping into the shoes of Kevin Bacon’s Ren MacCormack is no easy task but Kenny Wormald fills the bill nicely. A trained dancer practically from birth, Wormald was a back-up dancer for none other than Justin Timberlake who, in fact, recommended him to director Brewer. Himself from Massachusetts, the authenticity of Wormald’s accent is much appreciated, and because of the accent, Brewer rewrote the character so he would come from Boston and not the Midwest as originally written. Distancing himself from the iconic persona of Bacon, Wormald adopts more of a James Dean look and attitude with a harder edge. Where he falls short, however, is in the more dramatic aspect of the character, and never moreso than in the critical scene of Ren pleading his case to dance. Bacon was energetic, uplifting, enthusiastic. Wormald has a calmer softer delivery that lacks passion, something I find disquieting for one so passionate about a cause. But what he lacks with some of his acting he makes for with his dance which is amazing.
Equally amazing, not only with dancing, is Julianne Hough. Stepping off the dance floor at “Dancing With The Stars” and on to the big screen (with a stop at the recording studio in Nashville along the way), we got a taste of Julianne’s acting in “Burlesque”. But here, as Ariel, she gets a chance to spread her wings and soar. And soar she does. Hough gives Ariel an emotional fire that just blazes throughout the film, but also brings a tacit vulnerability that warms the heart. The emotional complexity of Ariel is a welcome addition to this FOOTLOOSE and Hough nails it, particularly in some intense scenes with Dennis Quaid. Then she just tears up the screen with the dance. As I watched her all I could think was, Lori Who? In the ideal FOOTLOOSE world, I see Julianne Hough and Kevin Bacon paired.
Stealing the show, and my heart once again, is Miles Teller. He wowed me in “Rabbit Hole” but here as Ren’s best friend, Willard, he hits it out of the park. He is a natural. As Willard he is beyond likeable, affable. Teller gives Willard this great innocent confidence with a nuanced comedic edge. His smile just melts you while his chemistry with Wormald is easy-going and believable, something essential to the film. And the Willard learning to dance sequence – priceless!!!!!
Dennis Quaid steps in as Reverend Shaw, but I have to admit, I am not that impressed with the performance. He doesn’t come across as a fire and brimstone preacher that would have such total control over a community. It just fell flat. On the other hand, Andie MacDowell is a breath of fresh air as Vi Shaw. Notable is that we finally get to see her natural beauty, a few crows feet and all, unlike in the air-brushed cosmetic commercials that flood the media.
Co-written by Dean Pitchford and Craig Brewer, and directed by Brewer, FOOTLOOSE may be by-the-numbers, but the numbers get ratcheted up for 2011. Although familiar, thanks to the inclusion of some hip-hop music and true-to-life teen characterizations that don’t dumb them down, the story will resonate with teens as well as adults who remember the original film. Notable is the plot point of Ren’s fight to dance and the lengths he goes to, checking legal resources, uses a library, etc. Brewer and Pitchford make these FOOTLOOSE kids more educated and world savvy and has some utilizing their brains to get ahead or get what they want. They elevate the intelligence factor to be more than about boys, clothes, music and dancing. Touchstone moments are all inclusive, book-ended by the opening and closing dance numbers that are almost identical images to the original, using both the original Kenny Loggins’ FOOTLOOSE song and Blake Shelton’s 2011 version (which I like). The now infamous chicken race with tractors has been reinvented as school bus death races on a race track. But don’t fear! We’ve still got tractors in the film. And of course, we got the boys fighting at the prom, although the fight scene seemed lacking in stunt choreography.
Costuming is impeccable thanks to Laura Jean Shannon. From Ariel’s red boots to Willard’s black tux and blue shirt to Ren’s red prom jacket and Ariel’s off the shoulder prom dress, Shannon retains the basic look of the originals, but modernizes them for 2011. No longer must Willard wear a ruffled shirt and Ren isn’t glistening in metallic threads! (And if you like the FOOTLOOSE look, there is now a clothing line that you can buy on Home Shopping Network. Seriously!)
Technically, there is nothing exceptional about the film. Not embracing the “new technologies” that come along in the past 27 years, Brewer keeps it basic, simple and straightforward, letting the music and dance shine as opposed to fancy camera work. Although camera angles are varied, especially with the dance numbers, many are identical to the original film. Similarly, Billy Fox’ editing, while often appearing choppy, actually compliments the rapid-fire dance moves, particularly in the drive-in hip hop sequence. I applaud Director of Photography Amelia Vincent for some beautiful imagery and lighting. Remembering Ariel and Ren in a darkened train in the original, this go round, Vincent brings in some calculated soft lighting that enhances vibrant color and eclectic set design. And the climactic prom sequence… as magical as ever.
But the real stars of FOOTLOOSE are the dances and music. Blending famed songs from the original with some updated versions and adding a few new pieces of hip-hop and country western, the soundtrack is fresh and exciting. And while much of the seminal dance routines and moves are identifiable to the original film, Jamal Sims choreography also celebrates the strengths and weaknesses of each of the performers. The drive-in sequence allowed Wormald to cut loose with his background in street dancing while we see Hough’s ballroom and Latin background come through in the prom sequence, plus a little nod to a waltz between Hough and Quaid. Then toss in some country line dancing and Sims has all the bases covered.
As I sit here now, I can’t help but wonder what Carrie Ann Inaba, Len Goodman and Bruno Tonioli would give FOOTLOOSE for scores. On my paddle, I give it a 10! This is the feel good film of the year! So break out the confetti and dust off those dancin’ shoes! This is our time – time for everybody to cut loose – FOOTLOOSE!!!
Ren – Kenny Wormald
Ariel – Julianne Hough
Willard – Miles Teller
Reverend Shaw – Dennis Quaid
Vi Shaw – Andie MacDowell
Directed by Craig Brewer. Written by Brewer and Dean Pitchford.
