Always inspired by films like ‘Muriel’s Wedding’ and ‘The Adventures of Priscilla, Queen of the Desert’ which created a lasting impact on her, Australian actress Rebel Wilson has planned since ages to step into big Australian musicals herself, and has implemented them successfully with ease in The Deb, which just premiered at the Toronto Theaters around the world.
In terms of the entertainment they offer, the second part of the film does not disappoint, despite the fact that FML almost overshadowed this event, for the last months there has been negative publicity towards the actress, thanks to the arguments with the producers. The film focuses on Wilson maintaining a certain sense: knowing precisely the film she wants to create for an audience for at least the first half’ although the latter is certainly debatable, as she proceeds her winding start and undertake with a performance titled FML My Life’.
In an Australian bush where towns have little to no hope, the story was first thought of as a stage musical with lyrics written by Hannah Reilly and Meg Washington. The plot revolves around a girl named Tomasina Simpson regarding Natalie Abbott, who is trying to achieve a bizarre Otto-type’s dream. The wiki states that Tyla dreams of participating in a dance event in town every year. Please let me remind you that this town actually does throw a ball for the debut, that comes with a series of unfortunate events. These include getting a corsage that should be as inexpensive as possible, getting a ‘fringe’ if possible, and not giving up on anything, let alone that which is hurled at the self-declared most popular Sophie chantelle Annabelle and Danielle. These girls sing in sync, they are so much fun and together as the band ‘Pixie Cups’, their song is one of the best admits so much laughter and levity.
Taylah is visited by her cousin Maeve (Charlotte MacInnes), a big-city beauty who seems to have her fair share of college problems that has rendered her all the way to Taylah’s hometown to stay with fellow Rick Simpkins (Shane Jacobson), Taylah’s father who is also trying to save the town as its mayor by getting water to it. Maeve is quite disdainful of this bunch but becomes a source of inspiration for Taylah because both women belt out how they want to be ‘In the Spotlight’ with the song being decidedly Broadway in style further showcasing the duo’s impressive vocal skills.
The town’s young bad boy, Dusty Costa D’Angelo, is quite determined to win the attention of Maeve, who offsetting the town’s hopes, is an ultra-feminist and is repulsed at the idea of a “deb ball,” to the point that it almost seems impossible. Worst of all, Taylah, the pretty blonde who would die for an invite to this occasion, is so obsessed with getting the invite that it is comical. In the end: will Maeve sleep with Dusty, will this town return to what it was before, will the Deb Ball be a success for Taylah?
If you like dramatic questions and love drama even more, then within this ready-made Broadway adaptation look out for “Comin’ Out,” “Wildfire/Lit,” “Ugly,” “Pretty Strong” and “Someone Brilliant” songs that have everything to do with Maeve’s and Dusty love stories. And remember who the director of this rather good written musical is; Wilson, who in the begining reels back the character Janette so that the film can progress in an orderly manor in the second half. Sadly, there is a distinct point when guiding is no longer enough, and Wilson’s boldness gets out of control.
It cannot be supposed that some of her lines are truly funny and Rebel has some strong stand up comedy lines, she is however a bit over the top in being part of this dazzling young cast. The picture also becomes somewhat somber as it tends to lose some of its first bounce before it finally comes back looking for a happy ending which has come to be expected off all films.
Abbott in the role of Taylah, Tracy Turnblad in Hairspray comes to mind since the type of the role is the same, is very good here and somehow manages to get us to cheer for her on. MacInnes holds her own portraying the exquisite Maeve and a large cast of supporting actors including extraordinary singers and dancers all choreographed by Tony Award winning Rob Ashford literally blow us away one number at a time (Thoroughly modern Millie).
Wilson’s directorial perspective, razor sharp when she stays away from her own humour, is backed magnificently by Ross Emery’s crisp cinematography, transition element of Sam Hobbs and Margot Wilson’s artistic costumes.
The producers are Wilson, Gregor Cameron, Amanda Ghost, Greer Simpkin and David Jowsey. It is seeking for distribution and in a season where every film has a musical twist this one succeeds quite well as a classic Australian barn stormer that might leave you singing the songs as if it was simply a more classic take on Grease.
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