The term “burlesque ” for the uninitiated refers to a specific brand of female striptease that incorporates flamboyant costumes elaborate choreography kitschy songs and various other elements to which heterosexual men are largely indifferent. But it’s wildly popular in other circles -- so much so in fact that it has earned its very own film titled oddly enough Burlesque.
Written and directed by music video veteran Steven Antin Burlesque is fashioned loosely as a camp homage to the 2000 film Coyote Ugly. Stage and screen legend Cher brought to life by an innovative blend of animatronics and CGI stars as Tess the brash tough-as-nails proprietress of Hollywood's almost unbearably fabulous Burlesque Lounge. Despite the obvious popularity of its musical revue the club is plagued by money problems which makes it the target of acquisitive real estate developer Marcus Gerber (Eric Dane) a man whose name alone carries all sorts of ominous Teutonic implications. But Tess determined diva that she is refuses to sell. She's not about to let years of gross financial mismanagement kill her dream of providing a haven where scantily clad women can dance provocatively without fear of encountering men who’d like to sleep with them.
Potential salvation arrives in the luminous top-heavy form of Iowa-bred Ali (Christina Aguilera) a vision of wide-eyed innocence and vaulting ambition in soft focus. Immediately upon entering the Lounge she is struck by the sudden realization that her lifelong dream is to become a burlesque superstar. Unfortunately Tess doesn’t initially recognize Ali’s potential and the poor girl is forced to slum it as a cocktail waitress in the bar area where she’s embraced by the club’s straightgay bartender Jack (Cam Gigandet) a southern transplant whose own showbiz dream involves making it as a songwriter. (In accordance with songwriter tradition he takes pains to ensure that every inch of his chiseled frame is bronzed and waxed. Just like Bernie Taupin.) In her free time Ali devotes herself to the study of burlesque and when her opportunity arises she seizes it without hesitation.
Burlesque is principally the Cher and Christina Show and the film thrives when their respective talents are on display. (“Talents ” obviously gaining a dual meaning in regards to Aguilera.) Surrounding them are a smattering of stock characters pursuing forgettable story arcs the lone exception being the always excellent Stanley Tucci adding a pinkish hue to his incomparable wit in the role of Sean Tess’s long-suffering boa-clad second-in-command. He and co-star Alan Cumming are two sides of the same sassy coin but Cumming is little more than a bitchy bit player in Burlesque poking his head into the frame on occasion to deliver a biting one-liner. Then again that description could apply to any number of characters in the film.
It appears that Antin true to his music-video pedigree conceived of Burlesque with the song-and-dance pieces in mind first then set about building a story around them. (The opposite is generally preferred.) The musical set pieces are lavish sexy and at times truly dazzling especially when Aguilera takes the stage but they do little to advance the film’s plot. Consequently Burlesque’s running time swells to almost two hours to satisfy the demands of a story that frankly seem hardly worthy of such an effort.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.