Strictly Ballroom (Film) - Synopsis
From ZuluNotes - Free Leaving Cert Notes
Contents |
Sequence One
Opening Credits
The film opens to the strains of the "Blue Danube" waltz. On the screen we see the closed curtains of a theatre stage illuminated by the footlights. The film credits sparkle in time to the music (role in like a cartoon like way). The curtains suggesr a division between the viewer and the action of the stage or film behind the curtain. We are being placed as the audience seated in a theatre to watch the show. The curtains part as the film title appears, glittering with white light. The style of lettering used is flowing and decorative and the twinkling lights suggest the glitter of the ballroom and the dancing which are to follow.
This style of opening also has a cartoon - like quality and is reminiscent of early Disney cartoon films. It is an influence which we need to consider when we examine the different characters and their actions. The title disappears in a blinding bright star of light and the camers cuts to the entrance of a large hall. Figures move slowly in silhouette across the screen (this seems very pretentious, playing a formal, correct, artificial role). The slowness of their movements gives emphasis to their gestures.
The Competiton Hall
We are positioned inside the hall looking out through the entrance doors. The dancers are still in silhouette with 2 men clearly in view on the right side of the screen, while the partially closed glass doors obscure to enter the hall, wishing each othe rluck and flouncing out the skirts of the women's dresses.
In contrast, the closed doors restrict our view of their partners. We see them confined and distorted by the frames and glass of the doors. Literally, the women are caged behind bars, perhaps suggesting the confined and restricted role they play in the world of ballroom dancing where the man leads and the woman follows. This is emphasised in the whole film, it is men who are important, women are inferior. Men command the main position on screen. The men's formal evening wear contrats with the light and colourful dancing costumes of the women. The contrasting costumes seem to suggest the "serious" role of the men as opposed to the frivolous, decorative role of the women.
As the music swells, the dancers enter through the doors into the competition hall. Their arrival is greeted with cheers and applause by the spectators. Again, the camera places us among the spectators of the dance. We see shots of the hall from the dancers point of view.
A dissolve takes us into the dance and the competition as the camera follows. The waltz itself begins slowly and gracefully with the gradual quickening paces being emphasised by the editing as the camera cuts from long to close up shots of the dancers. We are reminded that this is a competition by the spectator who shouts "come on a hundred" and by te shot of the judges score sheet.
The waltz sequence closes as the camera zooms in to a freeze frame shot of couple number 100. There is a distinct pause as the title identifies the man as 'Scott Hastings, Ballroom Champion'. We can see Scott clearly but his partner's face is turned away from us. The image is quite deliberate and again seems to emphasise the woman's anonymous and decorative role. The proseenium arch of the stage in the background where the judges sit watching frames Scott.
The Hastings' House
Suddenly the camera cuts to the living room of a house. The cut is unexpected and breaks the film's sense of time. We realise that the dancing competition we have been watching is in the film's past and that it is, in fact, a flashback sequence.
At this point the film adopts the style of a television documentary or current affairs report. The titles identify the characters as Doug & Shirley Hastings, Scott's paretns, as Shirley speaks directly to the camera in mock serious tones 'Scott won most of the trophies in this room. You see, that's the tragedy, my son was a champion.'
This brief shot introduces a note of unease to the film. The word tragedy implies that something has gone terribly wrong. She also refers to Scott as 'my son' rather than 'our son'.
Scott's father reacts to what she says by using an inhaler, as if he were in some distress.
The Competiton Hall
The camera cuts back to the dance competition as the waltz ends. Scott seems poised and confident. Again we cut to the living room and a close up of Scott's another. The documentary style continues as she speaks directly to the camera. Doug Hastins seems to have been removed from the scene and Shirley is introduced as a 'cosmetics consultant'.
As Shirley speaks, the camera cuts back to the competition hall. The close up use of a wide angle lens deliberately distorts the features of the compere and Barry Fife, the dance federation president, whom he introduces. Barry's power as president is evident by the applause the dancers give as his video is introduced. The title of the video Dance to Win is also significant.
The compere sets the tone of the conflict in which Scott is to be involved. While introducing Barry Fife, he refers to the official federation video, the only way to dance, Barry Fife Dance to win. In this way, Barry Fife is made to represent the organisation which Scott must challenge in order to prove himself and dance his own steps that Scott and his partner Liz have been working towards winning this championship 'all their lives'. Shirley is still clearly distressed by what happens next during the samba. She looks away from the camera and her tone of voice drops.
Blocking Scott
We cut back to the hall and the dancers who are performing the samba. Ken Railings and Pam Short are mentioned by Shirley. She speaks highly of Ken as a 'wonderful ambassador for ballroom dancing'. As she speaks, we see Ken dancing with exaggerated smiles and gestures. The judges on stage look on approvingly at him.
The dance sequence closes with a close up shot of Scott's number 100. It seems to sugggest that his dance routine merited full marks. instead, the documentary report continues with Scott's coach Les Kendall. He implies that there were a lot of things wrong with Scott's performance which would only be obvious to an experienced professional like himself or Barry Fife. His position in the office suggests his sense of power and control over the business side of dancing. The darkened lighting suggests that he represents an evil force whose influence has corrupted the spirit of ballroom dancing. The camera zooms into a close up of his mouth as he says the word 'win'. The shot seems to suggest that it is not the dancers and their talent that decides the winner of a competition, but Barry Fife.
The Competition Hall
From Barry's darkened office, we cut for the last time to the competition hall where Ken and Pam are declared the winners. As the compere announces their previous vistories, the camera begins with a long shot from behind the line of contestants. It slowly moves in a zoom through the line. As it does, it establishes the opposition of Scott & Ken as the rival dancers, with Barry Fife in the background controlling what happens. The zoom shot finishes in a low angle close up of Barry as he stares across the dance floor at Scott. The camera cuts to a close up of Scott who is now being identified as the person who threatens the corrupt system which Barry controls.
Unable to bear losing the competition, Scotts partner Liz rushes from the hall knocking over the 'beginner' Fran as she goes. As Fran struggles ot her feet, she is again knocked over by Scott who is rushing after Liz. The sound effects and camera work make this a comic moment. Liz halts as the door and turns to face Scott. her threat not do dance with him again until he dances the way he is supposed to completes his isolation and rejection. it also underlines the willingness of the other dancers to follow the rules as laid down by Barry.
The sequence closes with a freeze frame of Scott in a close up. At this point of the film, he is being portrayed as the villian for refusing to do as he is told. His refusal has isolated him and led to his being rejected by his friends and family. In the close up of Scott, the other dancers in the background are out of focus which serves to heighten his sense of isolation. The 'seriousness' of the moment is added to by the use of shadow and red light on Scott's face and the sombre musical score which accompanies the shot.
Sequence Two
Scott & Liz argue
Kendall's dance studio is the location for this sequence. It is 3 days since the events of the Waratah Championships. The sequence re-establishes the actions as being in the film's present and reverts to a conventional linear narrative.
The scene begins with a crane shot of a daytime dance class in progress in the studio. Les leads the men and Shirley leads the women in practising the steps. Fran seems oblivious to the lesson as she scatters grains of rice about the floor and then crushes them underfoot. Her behaviour seems odd to say the least.
In a side room, Liz and Scott argue. The camera cuts from the dance class outside to close-ups of the arguing couple. The close-up helps to emphasise the intensity of their feelings, their expressions leave us in no doubt what they are thinking.
There is an element of slapstick comedy as Liz storms out of the studio and collides with Fran. It refers back to the manner in which Liz behaved after the competition. However, this time it is Liz who ends up on the floor, not Fran.
The Locker Room
Meanwhile, Scott goes into the locker room and continues to look for approval for his dancing from his friend Wayne. The heavy shadows and the use of close up shots suggest an air of conspiracy about the scene and what Scott is trying to do. Wayne refuses to answer Scott or to give an opinion on his dancing. It is almost as if Wayne is afraid to say anything. It is an important short scene as it is then first inkling we get of the control which is exerted over the dancers.
