WATCH THE TRAILER HERE
First, the Recap:
Aim high. Reach for the stars. Persevere. Find your path. Achieve success. All mantras of the dreamer, the individual who desires to see their lives transformed into something more than they currently are. While it is more than commendable to strive towards seeking that new path that will garner the levels of notoriety we long for, the road to get there will never be easy nor smooth sailing, and this becomes the challenge that tests just how much we really want it. It’s New York City, and for deli delivery boy Charlie (Harry Jarvis), the fantasy is to become a professional pianist in order to showcase skills only a select few even know he possesses, encouraged by a particular route stop he frequents that offers a key moment of choice, the home of the reclusive, enigmatic music appreciator Rose (Kika Markham).
Likewise, for hard-working dancer Barlow (Juliet Doherty), the trail to stardom continues to elude her even as she auditions to exhaustion via every possible chance she can gain, bearing the weight of feeling like a failure thanks to her teacher/former professional dancer mother Oksana’s (Jane Seymour) highly critical and overbearing scrutiny. However, when opportunities begin to emerge for Charlie and Barlow thanks to a hot new Broadway dance show fostered by well-known and respected producer Ravi (Ace Bhatti) and director Zander (Thomas Doherty), the pair soon learns about true friendships, genuine love, the value of being bold in what you want, mending fences, but also the harsh realities, cutthroat attitudes, and high price that fame and glory can potentially bring about. The question then becomes–is it worth it?
Next, my Mind:
Filled with truly beautiful, inspired, engaging dance sequences, well-grounded drama, and an ultimately feel-good aura that sticks out in a day and age of overtly darkly-themed offerings running rampant, this 103-minute indie feature film from writer/director/producer Michael Damian and writer/producer Janeen Damian carries with it the overall light-hearted, positive, albeit a touch formulaic and predictable, approach that makes narratives about rooting for the underdogs and those who toil endlessly to see their dreams come to pass needed, entertaining, and, for this critic most importantly, relatable. In the grand scheme of moviedom, have we seen this all before–of course. Is how the story wraps up presented in exactly the direction most viewers might already have ascertained from the beginning–yes. But, despite this, does that have to remotely cause distraction from the sheer joy of watching a tale that should find a way to perhaps challenge us to take a look at those things in our own lives we’ve desired to pursue, only to give up far too quickly, or not even try at all, and then have the resulting regrets and “I wish I hads” running through our minds? I personally feel that is the beauty of this style of narrative, as it actually should tug at our inner being, even if subconsciously, and cause us to be even motivated to take actions we might never have thought contained within us to see our own aspirations become reality.
Just like is portrayed here with the two lead characters, it isn’t an easy thing to find stellar success, and honestly it shouldn’t be. The reward for being held accountable and showing a willingness to not let the tough times weigh us down or deter us from the goal is the realization of what we can and are able to accomplish once our eyes, minds, hearts, and souls are definitively fixed on the prize and nothing will stand in our way. All of these thematic elements are explored in what this critic feels is the best and most effective way–character development and believability of the circumstances they’re encountering, which I felt happened here, even with a little “Hollywood” pomp, flare, and theatrics thrown in for good measure and dramatic effect. It’s a film driven by the raw emotions that are elicited by two of the most potent creative and expressive forces out there–music and dance. There’s a passion, an atmosphere of energy brought to vivid life, whether boiling under the surface or full-on in the viewer’s face, but it’s palpable and stirring as the characters experience the journey they’re on. Yes, at times, you might wish to dismiss it all as “typical young adult-based fluff”, but I am telling you to be challenged not to and really let the power of the greater story and concepts being presented impact you. Sure, it’s adorable and even “cutesy” as many films in this genre are, but there’s a more mature sensibility that ends up winning out, and it elevates the entertainment value highly.
One aspect there is simply no denying the allure of is the visual scope displayed through the myriad of dance sequences involved, which cover an equally dynamic range of styles from ballet to urban, hip hop to Bollywood, swing to tap, to the “Free Dance” stage on Broadway part of the film’s title alludes to. Full merit must be leveled to film choreographer Tyce Diorio whose apparent skills are on emotionally-charged display through the movements of all cast involved in making these moments of artistic brilliance shine brightly with eloquence, intensity, high energy and controlled beauty that brings about every reaction within you as a viewer that it should, from fiery vigor to softly impassioned tenderness. The same can be said for the absolutely magnificent piano/keyboard pieces as well, and if that actually is Jarvis executing the extremely precise and difficult musical numbers his character plays, it makes it even more impressive. The rest of the film is clearly professionally shot, with smooth camera work encompassing the vastness of NYC to the most intimate of instances between characters, making every effort to allow us to fully feel everything being experienced as if we were there, the proverbial “fly on the wall” as it were. I point these ideas out only in that with so many indie films not remotely getting the benefit of larger budgets to play with, it’s more than evident when they do, though as a sidebar, I have seen plenty of lower budget efforts that still look gorgeous.
Jarvis, even with what most might see as having the prototypical “perfect, down-to-earth, pretty boy looks”, lends a very believable air to his role as Charlie, who’s actually a regular guy and deli bike delivery employee hiding within himself a skill on the piano well beyond your average enthusiast. Trying to find any and all means to display his talent, but only getting opportunities few and far between, his biggest overall supporter is a reclusive, now-elderly former musician along his route who brings about the challenge and inspiration that keeps him moving forward. Once his big chance comes and excels, it leads to another larger chance at seeing his dreams come true that also becomes his wake-up call to the realities of showbusiness and just how genuine, or genuinely shallow, people can be. The only things keeping him grounded are his own sense of morality and the longings he has for the young dancer he falls for. It’s one of those characters you cannot help but root for, even when knowing the success will come, and throughout the narrative, you want him to win the day, get the girl, and find his mountaintop moment, with Jarvis (and his piano playing abilities!) drawing us in with natural charisma and real passion in his acting that garners perfect chemistry between Charlie and Barlow’s characters.
Juliet Doherty is very much a similar story, presenting the expected surface beauty, but then showing us there’s a warm-hearted soul that accompanies it in her role as Barlow, a girl following her own ambitions to be a lead dancer while still struggling to get out from under the shadow of a fault-finding mother who believes she knows best. Working at taking on every audition she can, Barlow’s star finally ignites thanks to a ballsy move that gains the attention (on and off stage) of a well-known director fostering a new show on Broadway. But, as Barlow immerses herself into this world of strong competition and clashing attitudes, it is Charlie who ultimately becomes her anchor. Pulled away from him, though, by the ongoing, more forward advances of another, Barlow lets it happen at first, star-struck and caught up in her newfound chance for fame. But when the ugly realities of the world she’s strived so hard to enter become apparent, it becomes more than necessary for her to turn to those whom she knows actually cares, including her mother, and it’s then a story of redemption of heart and passion that allows her to overcome the obstacles that keep trying to hold her down. In its entirety, Doherty delivers raw vulnerability combined with heated, focused sincerity along with a winning smile and indelible innocence.
Thomas Doherty plays the character we love to hate often, yet also feel sorry for, and then end up supporting in his performance as high-strung Zander, the director of a much-anticipated Broadway show “Free Dance”, whose means to get what he wants showcases the full range of heartfelt to heartless, warm to cold, calm to enraged, all wrapped up in his already obsessive need to put a winning show on stage. This Doherty fully utilizes his suave good looks and ability to turn cockiness on and off to the fullest extent as Zander, and does so quite engagingly throughout the film. Wonderfully enacted primary supporting turns come from Markham as the aging former musician Rose who becomes a catalyst for Charlie’s renewed motivation and joy of success in his career pursuits, Seymour as Barlow’s mother Oksana, a former professional dancer now dance teacher whose initially shaky relationship with her daughter gets a chance to be mended in the best possible ways that reflect a mother’s love regardless of differences and conflicts between them, and Bhatti as Zander’s producer Ravi, whose overall calmer demeanor is more than needed to keep his partner’s temper and focus in line while navigating the challenges they face in putting “Free Dance” together.
Additional primary supporting efforts arrive from Nataly Santiago, Kerrynton Jones, and Sophie Tyler as Paloma, Keke, and Ava, two dancers and a singer who become Barlow’s roommates in the course of events unfolding with “Free Dance”, Desmond Richardson as “Free Dance” choreographer Sammy, who becomes another of Barlow’s supporters in good and bad moments she faces, Jorgen Makena as hyper star dancer/singer Kayla Jordan whose ego more than gets into her own way much less Barlow and her goals as well, and Dimitri Kleioris as Ryan. A myriad of other supporting appearances are made, too many to get specific here, but all in fine form for the parts they play, which for this critic is still important to mention since so often, minor roles never even get acknowledged in any way. In total, “High Strung Free Dance” sets itself apart from other films of its ilk with a much more realistic, heartening story, incredible dance and music offerings throughout, and just that greater feel-good-who-cares-if-it’s-predictable atmosphere that is more than worthy to check out and simply enjoy for exactly what it is. Hey, remember when movies were just that–entertaining? Well, this one has the dramatic steps, human notes, and ideal stage to provide just that.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
