Leaning back in his chair to offset the posse of eager reporters before him, Antonio Banderas considers the social implications of his new movie and jadedly remarks, "Ballroom dancing's never killed anyone." Though it may not be the most practical solution in today's troubled world, dance can still have an impact.
Banderas is promoting Take the Lead, a highly entertaining film in spite (or perhaps because) of its adherence to convention. Set in New York City, it follows Pierre Dulaine (Banderas), a charismatic European who is determined to make a difference in the lives of a group of urban students by teaching them ballroom dance.
Following the precedents of many films before it-Dangerous Minds, Save the Last Dance, Mad Hot Ballroom, and The Breakfast Club, to name a few-Take the Lead can seem stiflingly formulaic at times. But under the flashy direction of Liz Friedlander, previously known for her work in music videos, the movie is dominated by its infectious dance sequences, which pepper the film like seasoning on a John Jay chicken breast. Though its base is bland, the addition makes it palatable.
In order to enjoy Take the Lead, any and all pretensions must be disregarded. Knowledge of French New Wave has no place here, nor do references to Lars von Trier. Take the Lead is designed to be felt within the context of a purely cinematic experience, not an analytical one. It is vapid, necessary fun.
The movie's world is ultimately happy, and although many pieces are left unresolved, the viewer can trust that in this picture-perfect world, everything will turn out fine. There's a certain comfort in knowing this, a comfort that is not often echoed in films today-and we need a little bit of that every once in a while.
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