One of the most captivating and entertaining plays I've seen was performed at the Dean College Theatre Department last weekend. Produced by The John F. Kennedy Center for the Performing Arts, Footloose was brought to the small town of Franklin, Massachusetts by director James T. Beauregard. From the very minute the play began, I was fascinated to see a whole group of young students singing and dancing at the same rhythm. I had never heard of Footloose before so of course it all came as a huge surprise for me. The music by Tom Snow, whose lyrics were written by Dean Pitchford, was mind-blowing and exciting.
The performance opened with Ren McCormack, the main character, and his mother Ethel, moving from vibrating, full-of-life Chicago to the small, low-key town of Bomont, Texas. This transition was extremely difficult for Ren who had somewhat of a hard time fitting in with the Texan crowd. Soon after, Ren began falling for Ariel, daughter of Reverend Shaw Moore, and found himself in trouble. Not only did Ariel had a boyfriend already, but having been used to dancing and clubbing back in Chicago, Ren was baffled by the law the prohibited dancing in Bomont. So, he decided to change things by getting his senior classmates on his side and proving the Reverend how truly harmless dancing is.
I thought Anthony Watkin, who played Ren McCormack, proved himself a true singer to the audience on Sunday night. Along with Anthony, Christine Brito (Vi Moore), Theresa MacFeat (Ariel Moore) and Kristen Kesner (Rusty) were other astounding singers. One of my very favorite scenes though was when the whole group of students and towns people got together to sing and dance the original Footloose song. When it came to the dancing, I thought Lisa Pari did an awesome job at choreographing the performance! I didn't see any actors dancing out of rhythm although, some certain solos like Anthony Watkin's I felt could have beenThis Essay is Approved by Our Editor Essays Related to Footloose
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Modern Jazz I
Footloose, Directed by Walter Bobbie (Chicago) was a high energy musical based on the 80's
teenybopper movie. I saw the New York production starring Tony Krushner as Ren.
I felt the overall production was bland and orchestrations were sparse. When the reverend
comes center stage to sing his "powerful" song about being misunderstood I was bored. I
found the song to be very anti-climatic.
All of these things aside said there were some things I did enjoy about the show.
"Footloose" the opening number with its neon scenery and quick light changes gave the
audience a high energy beginning to the musical.
The last scene of Act I took place in the gymnasium. The scenery and costumes were all red
and white. The up-tempo music and the gymnastics gave the audience a very "up" feeling at
the very end of a disappointing first act.
The most exciting point in the second act was when the kids snuck out to go dancing.
Continues for 1 more page >>
Both the original film Footloose (1984) directed by Herbert Ross and Craig Brewer’s remake (2011) form quite curious unity that is worth more profound examination and assessment. These two versions of one story line shows, however, how the artistic works can vary one from another. The choice of this pair of films by the author is based, on one hand, on the aesthetic attractiveness connected with the music genre and, on the other hand, on the important social and historical background of the films. Thus, this is the explanation of the author’s choice of this pair of films.
Meantime, music genre and social matters discussed in the films influence the spectator’s perception. First, such genre is supposed to be oriented on the mass culture and, accordingly, mass audience. Otherwise, social problems are the essential part of the necessary civic consciousness. Overall, Footloose and its remake are the powerful objects to make the large part of the spectators think over the social matters described in the films.
This paper consists of three main parts. The first one includes the short review of the main differences between two versions of the film. The second part contains the aesthetic characteristics of both pictures. Finally, the third section of the paper elucidates the social matters discussed in the films. In sum, the critical reading of Footloose and its remake considers to show and explain the main points that the author intend to pay attention on.
Main differences of the film and its remake
Comparing the original film and its modern counterpart, the spectator can easily distinguish the main differences between them. They concern to the cinematographic narrative means to strengthen or lessen some points of the story. There are many such distinct features but the author take into consideration only some of them that seem to be the most essential and significant.
To begin with, there are some visually determined changes of the story. For example, when the 1984 version just tells about the teens’ crash on the bridge, the remake illustrates it with the frames. When the original film contains the stills of the burning books, the new film let it down. Thus, such scenes become more psychologically burdensome and turbulent.
Moreover, such pair as gender and sexuality becomes the ostentatious indicator of the society changes of different historical backgrounds of the films. More revealing and provocative clothing, especially the women one, characterizes the teens’ behaviour of the new millennium. For instance, Ariel’s graduation dress in the remake is almost the same as in the original film but it is short and, accordingly, more sexual than the counterpart in the 1984 version. Therefore, the relationship between the gender and sensuality strongly depends on the new perception of the body.
Consequently, there is only a little part of the wide range of differences between the two versions of the one story. Visually determined stills and the sexual attractiveness of the film characters make the main peculiarities of the remake. They illustrate both the historical and social changes and geographical specifications of the context of the renovated film version. In sum, the unity of them determines the spectator’s expectations.
Aesthetic features of both pictures
The original Footloose and its remake are characterized by some purely artistic features. Among them there are the actors’ performances, soundtracks, special and dramatic effects. They influence the aesthetic perception of the director’s attitudes towards the successful film narrative. Thus, performance by itself is intensified by the definite effects of the picture.
Actors’ performances. As for the Herbert Ross’ version, the actors’ performances prevail over the remake’s ones. The cast is more charismatic and professionally strong then in the new version. For instance, it is difficult to overestimate the role of Kevin Bacon in comparison with Kenny Wormald. Both actors are young and talented but the charisma and energy of the first one is much stronger then the second one’s. These key figures in the cast determine the sympathy towards the rest of the performers.
The other main roles are also determined by the specification of time of its context. Lori Singer as Ariel in the original film is more restrained then Julienne Hough in the remake but the first one plays in more organic and natural way then her follower. The modern spectator can argue on this account but his choice will be connected directly with the sexual appearance and behaviour of Julienne. Nonetheless, Lori Singer personifies the exceptional inner beauty, unusual art of transformation and high-quality professionalism.
As for the role of Ren’s friend Willard, Christopher Penn finds to be more funny and comic then Miles Teller, whose performance on the beginning of the film is a little bit clumsy and awkward. Nevertheless, both of them are the masters to illustrate the personal confusion in the dance art on the beginnings of the films but the transformative way of Christopher Penn and his character incomparably visible much better then Miles Teller’s one. Therefore, the author mentions the exceptional talent and artistic attractiveness of the actor of 1984 film.
The last more perceptible comparison of actors’ performances pertains to the role of Reverend Show Moore. While John Lithgow falls in his role naturally from the first frames with him, Dennis Quaid discords a little bit his character. The matter may be linked with the previous experience of the other actor’s performance. Nevertheless, both of the actors achieve the possibility to find their expression in their actions not only as the preachers but also as the fathers who try to be perfect for their families.
Such parallels of actors’ performances can be continued infinitely but the conclusion of this comparison let the author define the personal esthetical impression and sympathy towards one of the versions of Footloose. The advantage of Herbert Ross’ cast is evident and provable. The strong professionalism and high-quality art of transformation determine the winner among the original film and its remake.
Soundtracks. Another difference pertains to the music components of the films. The main distinctions lie in the ways of combination of the different tracks and adaptation of them to the single spirit of time and society. Some music is left to outlast the past and continue in the future, other music is changed according to the necessary conditions to live in.
The comparison of the soundtracks of both films elucidates that some of the original and additional music was used in the remake, other was let down or changed in it. First, both 1984 and 2011 version include such tracks as “Footloose” by Kenny Loggins in the old film and by Blake Shelton in the new one, “Dancing in the Sheets” by Shalamar in the original picture and changed “Dancing in Dee’s Sheets” by Rae, “Holding Out for a Hero” by Bonnie Tyler and Ella Mae Bowen accordingly, “Let’s Hear It for the Boy” by Deniece Williams and, correspondingly, Jana Kramer, “Almost Paradise” by Mike Reno and Ann Wilson as Love Theme from Footloose and by Deborah Lurie and also Victoria Justice and Hunter Hayes as two separated soundtracks.
The remake passes over the following tracks as “The Girl Gets Around” by Sammy Hagar, “Never” by Moving Pictures, “Somebody’s Eyes” by Karla Bonoff, and quite popular original song “I’m Free (Heaven Helps the Man) by Kenny Loggins. It also uses other new tracks for the film connected with the modern times and geographical disposition of the fiction southern town Bomont, Georgia. As a result, the sound specification of both pictures differ them one from another.
As for the styles of the music for both films, it is easy to take notice that the original Footloose represents the rock and sometimes R’n’B music style. At the same time, the remake uses rap music side by side with the main rock style. The author pays attention that it can be connected with the black culture as the representatives of this ethnic group appears quite often while the original film excludes them.
Conclusively, the soundtracks of the films vary according to the definite historian and geographical features. They illustrate the interrelation between the music and its context. While the 1984 film includes the original soundtracks, specially written for the film, the 2011 version bases on the remixes of them, covers and so on. The result is the renewed version of the exclusive sounds adapted for the modern time and its society.
Visual effects. Other feature to be mentioned is the special effects that are included in the both films. While the earlier version deals with them in more influential and unexpected way, the modern one uses these means more often but they are not so sudden. The reason may be in the spectator’s awareness of the story line and not very distinct from it the remake’s variant.
First, the most powerful visual effects of both films pertain to actors’ performances and, especially, frames where Ren is dancing on the abandoned factory. The variety of such means is wonderful and specific. They relate to the character’s emotions and their way of self-representation. The difference between two films on this account concerns the abovementioned actors’ performances. Therefore, more exciting and turbulent visual effects of Ren’s dances are documented in the original film.
Nevertheless, more weak and less influential special effects determine Craig Brewer’s film, the director seems to compensate the lack of brilliant actors’ performance with them. The quantity and quality of visual means elucidates the different directors’ comprehensions of their influence on the spectator. When these effects strengthen the perfect actor’s performance, it makes the film more strong and powerful and nothing else can compete with the effectiveness of their role.
Dramatic effects. As for the dramatic effects, they are also more powerful and sudden in the 1984 version then in the remake. The scene where Ariel stands on the way of the train to shout before it is almost the same in the new version only with some minor differences but the emotional load of the first one is more mighty and impressive then in the second case. The explanation of this result is hidden in the directors’ approaches or even in the actors’ actions and feelings on the screen.
Another parallel can be conducted according to similar interpretation of the competition between Ren and Chuck. In both films the directors uses the transport means and some limitation of the space. While Herbert Ross illustrates the competitors on the tractors on the river bank, Craig Brewer shows the youth on the territory of lace-track driving the busses. Both competitions are psychologically involving but the dramatic effect of the original scene is more expressional and disturbing.
Therefore, the dramatic effects of the old film prevail over the counterparts from the modern remake. Nevertheless, Herbert Ross’ version possesses primacy in time, its influence and suddenness are more believable and persuasive. Unfortunately, the remake lacks some freshness in such expressive ways to deal with in order to conquer the spectator’s impression.
Overall, such features as the actors’ performances, soundtracks, the special and dramatic effects determine the preference of the aesthetic perception of the Herbert Ross’ version of Footloose. Nevertheless, the remake uses more of them but the spectator’s opinion appeals to less professional and successful acting of the cast. Consequently, the original film displays better director’s approach towards the visual illustration of almost the same story line.
Social problems discussed in the films
According to the abovementioned, both versions of the film possess quite various features that distinguish them one from another. But there are also so-called “points of touch” which connect the pictures. The social matters link the 1984 and 2011 films around the similar moral deviations like the drugs, alcoholic drinks, murder and bound with them rock music and dances.
First, the drugs addiction is shown as one of the problems that spoil the youth greatly. The frame that affirms this deviation describes Ren MacCormack and another boy who tries to obtrude his free proposal to taste the cigarette. The administrative person who noticed the wrong behaviour of the youth and the suspicious thing in their hands blames the new pupil in their school for dealing with the forbidden actions. Thus, the story of the films contains the drugs that are dangerous as for the individual and the whole society at all.
Moreover, the alcoholic drinks are also connected with the undesirable and prohibited actions for the pupils. The Reverend Shaw Moore who is also the minister of the city explains to his congregation that drinks and connected with them drugs and murder are those things which the youth must avoid in their lives. Such sermons are present as in the original film and in its remake and affirms the poisonous matters for the young people.
Thirdly, the murder is recognized as one of the worst sins in the society. But both directors describe such actions not only by the Reverend’s words but also with the frames. One of them that are shown both in the original film and its remake is the murder of Chuck over Ariel when the girl came to confess her ex-boyfriend about her relationship with Ren. Such stills appear some times and strengthen the ugliness of such human actions that are unaccepted in the society and prohibited in the Bible.
Finally, the films contain the explanation of the forbidden dances and rock music. Rev. Shaw Moore explains on the meeting before the citizens of the city that these things deal with the drugs, alcoholic drinks and murder and, therefore, result into the amorality among the society. The parallel is conditionally conducted with the crash of his son and other teens on the bridge. In sum, these social problems lead to the disobedience of the God’s words documented in the Bible.
Consequently, the deviations as drug and alcoholic drinks’ addiction and murder become apparent with artificially made prohibited dances and rock music. The administration of the city fights with these social problems in order to correspond with the subordination to religion. Therefore, these things are claimed as the sins and need to be controlled among the youth.
Overall, the examination of the new and old versions of the film Footloose allows the author of the paper to evaluate both films according to their differences in the narrative genre, the esthetical features such as actors’ performances, soundtracks, visual and dramatic effects and also elucidate the social matters of both pictures. The review of these special elements let the reader to see the preference of the original Herbert Ross’ creature. The minor changes in the story line, less professional cast, covers of the original music, less expressive and exciting visual and dramatic effects characterize Craig Brewer’s version and makes it less impressive on screen.Buy Old Versus New in Footloose essay paper online
Footloose 1984 & 2011
August 20, 2012
Footloose 1984 & 2011
Footloose! Seen it? Want to? Which one? There are two; one came out in 1984 (directed by Herbert Ross starring Kevin Bacon), and the other one in 2011 (directed by Craig Brewer starring Kenny Wormald). Music and characters are very similar, but the dance moves and time frame are different in both Footloose movies.
The first thing noticeable is the difference in the time eras from one movie to the other. In the 1984 movie, the game of chicken is introduced when Ren is challenged to play chicken on farm tractors on a narrow road. Ren is driving one tractor and Chuck is driving the other going toward one another until one tractor goes into the ditch. Now in the 2011 movie, Ren and Chuck play chicken using derby busses to play the game, by racing in a figure eight (with four busses total making sure to not go too fast or too slow). The end is when one of the busses catches on fire, as Ren jumps from the bus, and crashes into the other bus. The other thing one will also notice is the similarities and difference between the reckless behaviors in the two movies, in the 1984 movie, when Ariel (the preacher’s daughter) is leaving church in a car with her friends; Chuck drives up beside the girls. Ariel climbs out of the car onto Chuck’s truck, and at one point Ariel is standing between the two vehicles while an oncoming eight-teen wheeler approaches head-on; both vehicles wind up in the ditch. Another time when Ariel’s reckless behavior comes into play in both movies, is when visiting the yearbook (old freight train cargo car that sits in the train rail yard). Students have been writing all over it with things that everyone could read that they thought was important to them at that time in their lives. Ariel ask Ren if he has ever, as she stands on the railroad tracks while an oncoming train heads straight for her, until Ren pushes her to safety and yells “No!”
In the 1984 movie.
I been working so hard
I'm punching my card
Eight hours for what
Oh, tell me what I got
I get this feeling
Times just holding me down
I'll hit the ceiling
Or else I'll tear up this town
Tonight I gotta cut loose, footloose
Kick off your sunday shoes
Please, Louise, pull me off of my knees
Jack, get back, come on before we crack
Lose your blues, everybody cut footloose
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My sister raps. And I sing. 😀haha. Please subscribe and check out my other uploads! 😊😊😊
Wedding of Hayley & Paul O'Brien 02.08.15
* I HAVE ADDED THE LYRICS AS SUBTITLES — PLEASE SWITCH ON CC SUBTITLES TO SEE THEM
ON THIS VIDEO. -)* (or read below description for lyrics!)
Rachel Winterbottom raps her maid of honour speech to ICE ICE BABY
Recorded by Lenik wedding cinematography
Venue: Owen house wedding barn, mobberley, Cheshire UK
Yo wedding guests lets kick it
Ice ice baby
Ice ice baby
Alright stop grab your drink & listen
We're all here for a wedding convention
Something grabbed a hold of them tightly
H & Paul both daily & nightly
Will it ever stop, erm No
They're a perfect couple with the love they show
To the extreme h is hot like a candle
Pauls laid back so its easy to handle
Dance we're going to tear up the room
Drink & be merry for the bride & groom
Bob the dogs like their kid
Once he even shit out forty quid
Love it or hate it pobs always in the gym
He trains like a beast just ask our Kim
If there was a problem they can solve it
Pass H the wine she'll always involve it
Paul & hayley
They're married baby
Paul & hayley
Check out her ice ice baby
Singing thats how h rolls
I could listen all day it never gets old
Sisters shes like no other
Words cant express how much i love her
Piss pot describes hayley to be fair
Always on facebook with her legs in the air
Classy my sister could be a wag
Although this one time she was sick in her bag
Lovely thats the way she looks today
But not just to look at shes gorge in every way
Dizzy theres nothing she cant lose
Keys bag phone but never her booze
Rugby paul watches on tv
H knows the crack to leave him be
Hes a bit scouse & sounds like a crank
Im not worried we'll make him manc
Fitness Paul's lean & mean
Once he even turned up in a fitness magazine
Perfect for each other thats what i saw
Couldnt wish for a better brother in law
Babies soon will come
So get to work paul & get the job done
Happy thats what they are together
Not just today but forever & ever
Paul we're all so proud so take a bow
Mainly because shes your problem now
Family two are now one
Our new relationship has just begun
Thank you for joining us today
We're gonna have a blast in every way
If there was a problem they can solve it
Check out their love whilst my dj revolves it
Paul & hayley
They're married baby
Paul & hayley
Paul you picked right right baby
H & Pob are the names they carried
Hob & Pob now your married
Attraction started in previous years
We're here today after many many beers
Clearly its a story of true love
The stars aligned from up above
Support & love is what you've got
Not just me all this lot
People my raps coming to an end
But not before we toast our friends
Everyone raise your drink
We can do this toast in sync
To the happy couple love & laughter
Most of all happy ever after
If there was a problem they can solve it
Raise your wine, lets involve it
Paul & hayley
There married baby
Paul & hayley
Pass me a big drink baby
Maid of honour out.
We 7 brothers surprised our dear sister at her wedding reception with this epic dance routine. With only 6 hours of rehearsals we put it together and put on a great show for her. The youngest brother is 15 years old and the eldest is 46 years old.
The music selection ranges from Pop, RnB through to Bollywood. All the music was selected and mixed by the performers themselves.
Starting with The Lion Kings 'King of Africa' remix, the introduction symbolises protection of a dear sister by her brothers.
We then move on to a salsa dance by Kudero.
The dance then takes us onto Michael Jackson's famous smooth criminal.
We then spice the dance up with a bit of bollywood and one of the brothers tease the audience by acting as a female dancer, as seen in Bollywood films. The song is called Kajra re.
Moving on, the dance goes into Beyonces single ladies, and the brother in the middle is oblivious to the poster pointing towards him.
We then make then dance very masculine and bop into Men in Black, put our sunglasses on.
We finally move onto the Electric Slide Dance (Candy) and finish off with Apache.
The final song is by One Direction "Thats what makes you beatiful" where we get our sister to sit in the middle of the dance floor and we dance around her. She welled up with tears of joy.
We hope you enjoy our dance.
Choreographed by Nicky Farmer of Kidology Dance Co.
Kotecha Boys, London, UK.
Comparison Essay of Grease and Footloose
What makes Grease (1978) and Footloose (1984) two great musical films is that they appeal to the teenagers back then and even today- all because of the catchy tunes, the hunky John Travolta from Grease. along with the dance moves and relatable plot in Footloose. These two films are similar in that the main protagonist moves to a new place and is faced with challenges, unwelcoming people, and a sense of being an outsider.
Thus, Grease and Footloose depict how the journey of Sandy Olsen and Ren McCormack has changed them illustrated by their influence in their new towns, their new romantic relationships and from musical numbers.
“A play (movie) begins when a world in an uneasy state of equilibrium is broken into by an event.”
This quote by Chairman Rey applies to both of these musicals. The “uneasy state of equilibrium” in Footloose is shown by the banning of dancing and rock music in the town of Bomont implemented by Reverend Shaw Moore, who was determined to be the spiritual leader of the town – particularly to the stubborn and rebellious teenagers. This uneasy state was caused by a group of teenagers that were killed in a car accident a few years back, which Reverend Moore believed to be caused by rock music and drinking. However, the town’s uneasy state of equilibrium is broken into when Ren McCormack and his mother move to the town. It is obvious that Ren – who dresses like David Bowie – sticks out like a sore thumb, shown in the sequence where Ren is driving fast to school, with rock music blasting out of his car. Since most of the people in this town have learnt to obey the rules and not be too conspicuous, they feel threatened that an outsider is violating the rules. Thus, they do everything to make Ren feel unwelcome, as seen as when he gets kicked off the gymnastics team, accused of drug use, and regarded as a trouble maker.
Similarly, the town in Grease is also broken into when Sandy Olsen moves to the same school as Danny Zuko. However, unlike Footloose. the world in Grease wasn’t in an uneasy state of equilibrium before Sandy but rather, after. When Sandy moves to Rydell High, she creates an uneasy state of equilibrium in terms of Danny Zuko’s reputation among his friends, the T-Birds gang. The T-Birds make fun of Danny for falling for a goody two shoes and thus why Danny pretends to be uninterested in order to maintain his bad boy reputation, which is shown in the pep rally scene where Sandy asks Danny “what’s the matter with you?” because he was being pretentious.
Consequently, the worlds of uneasy state of equilibrium in these two movies cause a change from Ren and a change in Sandy. Ren’s journey to Bomont made him realize that all his nightmares have come true: no dancing and no rock music. The audience knows that Ren enjoys dancing when he tells Willard, his first friend in Bomont, about his adventure in Chicago where he danced closely with a girl. The audience also knows that Ren enjoys rock music when his mother compares him to David Bowie and from the music he listens to in his car. Joseph Campbell’s ‘Journey’s Hero’ can be applied to Ren’s attempt at changing this conservative town. It all starts with Ren’s epiphany to organize a dance while washing his car after he found out that he has been kicked off the gymnastics team. Thus, the road of trials begin where Ariel Moore, the Reverend’s daughter, becomes his friend (and more) and helps him with his quest by telling people to go support him at the town council’s meeting. Ren’s attempt at convincing the town council fails but hope is not lost. Ren’s ultimate ‘boon’ comes about when Reverend Moore finally gives his blessing for the seniors to have their prom after Ren has a civilized talk with him, which the Reverend realizes that this ‘troublemaker’ isn’t so bad after all.
Sandy from Grease however does not cause a change in the uneasy state of equilibrium world; she’s the one who changes. She changes because she’s the cause of the uneasy state; she realizes that in order for her to truly be accepted by Danny, the T-Birds and the Pink Ladies, she must change herself- evident at the end where she’s smoking and wearing revealing clothes. Sandy is the epitome of innocence, as shown when both Sandy and Danny are describing their summer to their friends from the number “Summer Nights”. From this number, the audience can see that Danny’s rendition of their summer contains many sexual acts such as when he sang “we made out under the dock”, in contrast to Sandy’s innocent version when she sang how they “went strolling, drank lemonade”. This exemplifies Sandy’s pure and innocent mind. In addition, Sandy’s innocence is mocked as shown at the sleepover with the Pink Ladies. The Pink Ladies, specifically Rizzo, mocks by singing “Look at me, I’m Sandra Dee” where Rizzo sings, pretending to be Sandy, that she “won’t go to bed until [she’s] legally wed”.
Thus, Ren’s journey from Chicago to Bomont leads him to change a world that was once without dancing and rock music to a world that now allows teenagers to dance and have fun. In contrast, Sandy’s move to a new school leads a change towards herself; where she decides that she has to change in order for the uneasy state of this world to be balanced.
There is a reason why both Grease and Footloose are considered to be romantic musicals- the protagonists both get the boy/girl at the end. Even if the ways they pursue their romantic interests are different and how these said interests have influenced and changed the protagonists also differ. In Grease. the audience know from the beginning that Sandy and Danny are already romantically involved, whereas in Footloose. Ren doesn’t know anyone from Bomont, let alone his future pursued girl, Ariel.
Sandy’s big change is manifested through her determination to keep Danny. As mentioned before, the beginning of Grease portrays Sandy Olsen as this sweet and innocent girl who comes from Australia, while Danny Zuko is portrayed as this player and bad boy, as well as the head of the T-Birds gang. The audience also learns that Danny, with his friends, is different to Danny with Sandy- as shown in the beginning at the beach where Danny was being sweet to Sandy but then showing his sexual side when singing ‘Summer Nights’ to describe his summer to the boys. Sandy, oblivious to Danny’s other personality is completely shocked when Danny acts as if she doesn’t mean anything to him at the pep rally. Danny’s fear of his ruined reputation is also shown when he and Sandy have their first date at the diner. Danny, scared of others seeing him, used the menu to block them from everyone’s sight- showing that he is not ready to fully commit and that he cares more about his reputation than Sandy. Sandy finally realizes this when she sees Danny being congratulated by his friends after winning the race and decides to get Frenchy’s help to win Danny. She then changes by dressing seductively in tight and revealing clothes-which immediately worked, causing Danny to be totally smitten by her.
The romantic story in Footloose however, is different. First of all, unlike Sandy and Danny who were involved from the beginning, Ren and Ariel didn’t start off as being friends- let alone be in a romantic relationship. We see that while most of the girls in Bomont are interested in Ren since he’s new to town, Ariel doesn’t even acknowledge him. However, that changes when Ren wins the tractor race against Chuck, Ariel’s boyfriend. After this turning point, we see Ariel losing interest in bad boy Chuck and begins to be interested in Ren by showing up at his work and taking him to the train tracks- which signifies that she has accepted him and welcomed him to the town because that is where she and her friends hang out. Also, unlike Sandy, Ren doesn’t change himself in order to pursue Ariel, but his determination in changing the rules about dancing and music in Bomont causes a change in Ariel. We see that Ren has, in a way, tamed Ariel- from a wild and daring girl to a girl who now knows her limits and who now respects herself. Ren’s influence on Ariel is also shown by his talk with Reverend Moore near the end of the movie. From this talk, the Reverend realizes that Ren is a good influence on Ariel, which then causes him to change his mind about the senior prom.
And so, Sandy’s determination in winning Danny is shown by her change- from an innocent girl to a wild one, whereas Ren’s relationship with Ariel doesn’t cause a change in himself but rather, it changes Ariel and eventually the town.
Not only do Sandy and Ren show their change through their move and relationship but also through their songs and dance, which act as a turning point to their change. For Sandy, her turning point was when she sang “Look at me, I’m Sandra Dee”, where she reflects Rizzo’s mocking of her innocence from the sleepover at the beginning of the film. In this song, she sings “Sandy, you must start anew/ Don’t you know what you must do”. These lines signify a turning point where she is initiating her change and starting anew. The audience also know that she is saying goodbye to her old self from the last line “goodbye to Sandra Dee.”
Ren’s turning point is shown where he dances to the song “Never” by Moving Pictures in a warehouse, trying to blow off steam after a confrontation with his uncle who disapproves of his attitude. This turning point signifies Ren’s frustration in dealing with the restrictions in Bomont, after tolerating people who treat him like an outsider and constantly discriminating against him. He has finally exploded, manifested in his hard-core dancing. This dance, accompanied by drinking alcohol and smoking, shows him doing back flips, doing moves as if he’s trying to break free, and swinging from a rope. This depicts that he has been repressing his dance skills and is finally letting loose. This is a turning point because Ren is finally showing his true emotions of being frustrated about the rules of this town since he was always quiet about it in the beginning. This is a contrast to Sandy’s turning point because hers shows her realization about having to change by singing, whereas Ren’s turning point shows him finally showing his true emotions without holding back by dancing.
Both of these protagonists also have a musical number at the end to show that everything has been resolved. For Sandy, the audience see her transformation at the graduation carnival with a cigarette in hand and wearing revealing clothes, whereas for Ren we see the success of the senior prom at the end where they all dance to “Footloose” and finally, letting loose. The musical number that shows Sandy’s success at changing is “You’re the one that I want”; where both Sandy and Danny sing to officially declare their love for each other. Ironically, Danny admits that he has also been changing to win over Sandy, where he explains to the T-Birds that he’s “doing everything to get her” because “Sandy means a lot to [him]”. This illustrates that Danny has finally grown up and is not afraid to show his feelings. The end of Footloose. however, shows that Ren has changed the entire town, rather than himself. This is shown from their dance to “Footloose” where we see the seniors happily dancing after the ban has been lifted.
In conclusion, we see the protagonists, Ren and Sandy, experiencing a change after their move to a new place. We see Sandy changing to be with the boy she loves, later succeeding in the end. In contrast, we see Ren changing the town; he made the town alive again, with dancing and music. Consequently, the uneasy state of Bomont is put in balance again after Ren’s move, which differs to the world of Rydell High in California. Sandy causes the uneasy state because it puts Danny in a dilemma between his friends and her. Essentially, what made these two musicals more expressionistic and flow more is from the musical numbers. They notified us about Sandy’s transformation and about how Ren is really feeling. These songs also allowed Sandy and Danny to declare their love at the end while also allowing Ren and the seniors to show off their dance moves at prom. So, as Chairman Rey’s quote states, “A play (movie) begins when a world in an uneasy state of equilibrium is broken into by an event”, both of these movies truly began – even though it was towards the end – when we saw the change made by Sandy to herself and the change made by Ren to the whole town of Bomont.Leave a Reply Cancel reply
1. Good choice of movies for comparison
2. “and from musical numbers” (?)
3. In both movies, there is the “outsider” character
4. Nice contrast here.
5. In both movies, there is the issue of socialization, of conforming to society, of changing society.
This is a dense, and intense essay, which largely succeeds because you pay real attention to the details of both films. In a way, the two movies have contrasting arcs: Grease is about the socialization of two extremes, and Footlose is about the liberation of a dying society (like The Cure )