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But I'd like to emphasize something else now. Those reviewers who complain about the film being dated are missing an important point. Love, friendship, joy, exuberance - these things are never out of date. And it raises an interesting question: why are some people so embarrassed and downright afraid of the so-called "hippie-dippy" aspect of this movie, and the years it captures so well? Possibly because it goes against the current wisdom, which claims that the uglier and nastier and more downbeat something is, the truer it is.
Well, no one is claiming that this is a perfect world - far from it! - but there is still plenty of joy and beauty and magic to be found in it! Yes, in too many ways it's a more cynical world now ... which is all the more reason to celebrate and uphold those naďve, utterly necessary values. Don't be afraid of looking foolish, don't worry about having to be cool and detached all the time, don't be afraid to embrace the Universe and exult in it - let the sunshine in!
What's remarkable is that Forman created film that has endured out of a stage play that hasn't. Ever wonder why the show hasn't been revived on Broadway? Well, that would be because it's a horrifically grating, plotless mess...
Which is why it's wonderful to hear the really great music, minus the awful book. The movie imposes a simple plot, nothing terribly interesting but totally serviceable. Performances are mostly dead-on, with a fantastic cameo by a young Nell Carter (another by Betty Buckley). Twyla Tharp's sharply lyrical choreography manages to feel completely impromptu and totally intentional. Impressive cinematography makes it a great film to look at, too, especially the devastating shot of soldiers boarding a transport plane at dawn.
Of course, the messy play much better reflects the 60s than this well-ordered film. But which would you rather watch?
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