Related articles and links |  1 of 4

It seems to be an unwritten rule: If you're a popular, middle-aged Hollywood actor, you must take your turn playing the mentor to a host of young unknowns, challenging them to seize the day, escape the temptations and pitfalls of reckless youth, and strut their stuff for the rest of the world. For Robin Williams, it was Dead Poets Society. For Michelle Pfeiffer, it was Dangerous Minds. Jeff Bridges did it in White Squall, and he'll do it again later this month in Stick It.

And now, here's Antonio Banderas as Pierre Dulaine, a European ballroom dancer who introduces the troubled teens of a South Bronx high school to the methods of mastering slick maneuvers on the dance floor. In doing so, he teaches them discipline, restraint, and respect. And he learns a thing or two himself, opening his rigorous method to include the hip-hop rhythms that capture the imaginations of these young students.

Take the Lead was directed by Liz Friedlander, formerly a music video director. Thus, she knows how to deliver the razzle-dazzle. But does she know how to tell a meaningful story?

Camerin Courtney (Christianity Today Movies) writes, "There are great lessons here … that culture can elevate and inspire even in surprising places, that sometimes the only thing standing between a depressing statistic and a promising young life is an adult who's willing to invest some time and talent, that despite socio-economic status or the color of one's skin we all have a lot more in common than we realize … but some of these truisms are at risk of getting lost or watered down by all competing with one another."

She's also not happy with the conclusion, saying that the "final dance scene loses steam, loses its main character, and has to share half the screen with the closing credits." But she concludes, "In a world—and movie culture—full of violence and vulgarity, this more genteel and classy Lead is definitely worth following."

Harry Forbes (Catholic News Service) is impressed with its message too. He says that the director "makes an assured feature film debut despite the formulaic plot, and has elicited good performances from all …" Forbes agrees with Courtney, that "more virtuoso dancing" would have been nice. And he cautions viewers about the "salty" language. But he concludes that "this is a feel-good film with a great message that young people should see."

Bob Hoose (Plugged In) sees the film as a predictable corporate product. "A Tinseltown movie team is such a strange artistic conglomerate. You have producers, writers, a director, actors, crew and corporate execs all tossing in their creative fodder and hoping that the outcome will be something transcending compost. Most often, we end up with a film that duplicates much of what has gone before, which is precisely what happens with Take the Lead."

Greg Wright (Hollywood Jesus) admits that he really liked it. "And this is Take the Lead's final lesson: trust. When leaders lead and followers follow, it's only harmonious, joyful, and beautiful when trust blossoms between them—the product of patience, kindness, gentleness, reliability, self control. Ballroom dancing—heck, any dancing—can be a spiritual experience. … And it's nice to see that the filmmakers are really behind that message. Wouldn't it be nice if, at the end of all such movies, winning and losing became wholly irrelevant?"

At the same site, Maurice Broaddus says, "The themes and images in Take the Lead have been seen in many films. It hits every cliché and does nothing new with the subject matter. It lacks the magic spark that moves a film from earnest message to good story. With Take the Lead, you'll have to be satisfied with its earnestness, though you can't help but leave with a greater appreciation for dance."

next page... |  1 of 4

share this page

April (Web-only) 2006, Vol. 50