Strictly Ballroom

The tremolo strings of Strauss' Blue Danube Waltz can be heard as lights fade up on a red velvet stage curtain. The curtain parts to reveal the words ...

Baz Luhrmann's flamboyant and colourful debut film opens with a theatrical swish of red velvet curtains and leads us into the larger-than-life world of competitive ballroom dancing. Strictly Ballroom tells the story of Scott and Fran, whose struggle to dance their own steps despite an authoritarian Dance Federation, is told as a fairy tale, romantic comedy and dance musical rolled into one.

An excellent choice for comparative study, Strictly Ballroom will appeal to students and teachers alike as it is accessible, fun and fast-paced. The Film Institute of Ireland's Strictly Ballroom study guide, due to be launched in September, will be an essential resource.

The study guide includes an exclusive interview with director Baz Luhrmann, in which he discusses his artistic vision and reveals what is meant by 'red curtain cinema' the concept central to his trilogy of films: Strictly Ballroom (1992), Shakespeare's Romeo & Juliet (1996) and Moulin Rouge (2001).

So what is red curtain cinema? The following extract from the Strictly Ballroom study guide explains:

Baz Luhrmann defines red curtain cinema as a theatricalised, participatory cinema form. As in other films, there are rules and conventions to be followed.

1) The first rule is that the story needs to be set in a heightened creative world. Strictly Ballroom is set in the stylised world of competitive ballroom dancing. Luhrmann describes how he was influenced by the Hollywood musical Top Hat:
"We had to look back to the movies of the 1940s and 1950s, musicals, because they were metaphorical. If you take Top Hat for example, there is no question there is no social or economic reality to Venice in Top Hat. It's a heightened fantastical world."

2) Secondly, the story should be based on a recognisable story shape. In Strictly Ballroom, the David & Goliath myth can be seen quite clearly in Scott's struggle against the mighty Dance Federation. Similarly, the fairy tale about the ugly duckling being transformed into a swan is mirrored in the character of Fran, at first a clumsy beginner but whose beauty and potential as a dancer is revealed when she takes off her glasses and becomes Scott's dancing partner and love interest.

3) Finally, red curtain cinema is also audience participation cinema. The audience needs to be aware that what they are watching is not meant to be real. Luhrmann believes that they need to engage with devices used in the film to participate in the viewing experience:

"Once you agree that you're always watching a movie, you're happy to accept a moment of high comedy, then tragedy - then break out into song."