Expressing who you really are is one of musical cinema’s most well-trodden paths, so has Netflix's The Prom brought something new to the table?
Based on the hit 2018 Broadway musical of the same name, The Prom sees producer Ryan Murphy (American Horror Story, Ratched, Glee) return to the directing chair for a tale of forbidden love and washed-up celebrities.
After a critically-panned musical threatens to derail their careers forever, narcissistic Broadway stars Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden) decide to get some good publicity by taking on and championing a social issue.
Uniting with perennial chorus girl Angie Dickinson (Nicole Kidman) and former sitcom star Trent Oliver (Andrew Rannells), Dee Dee and Barry head to Indiana to help a lesbian teen named Emma Nolan (Jo Ellen Pellman) who is barred from attending her school prom in a same-sex couple.
However, the group’s brand of celebrity activism could prove to be more trouble for Emma than its worth.
With glitz and glamour, Ryan Murphy offers a fun and lightweight musical that will certainly not win over the sort of people who detest the genre but will likely entertain those who do.
Of the cast, Streep delivers a fun and large performance as a diva learning to ditch her vain ways, while Kidman has all of her trademark glamour and warmth dialled up to 100 as Angie. Rannells is also a whole lot of fun as the upbeat and inspiring Trent.
Sadly, Corden’s performance feels the most like a caricature and comes across as especially calculated, with some moments landing with comedic heft but most of them not. The most dramatic moments from the Gavin & Stacey star also feel especially calibrated for potential awards attention, but the genuinely strong beats are few and far between.
However, much more can be said for the touching and vibrant turns from Pellman as the sweet Emma and also Ariana DeBose as her supportive but frightened girlfriend Alyssa Greene, whose mother is the chief antagonist here.
Played to scheming and scene-chewing perfection by Kerry Washington, Mrs Greene veers into pantomime villain but is delivered grit and finally heart from her performer. The dynamic between the Greenes and Emma builds to the most rewarding of conclusions.
Elsewhere, Keegan Michael-Key is also charming as Emma and Alyssa's almost saintly principal, even if his romance with Streep's character doesn't quite hit the mark.
Aside from the cast, of course there is also another important question: Are the songs particularly memorable?
There are certainly some standout numbers, most of which rest with the the big ensemble showcases or when Pellman gets to display her killer pipes for the most nuanced scenes.
It's a shame the film doesn't spend more time with Emma as a character as this is truly her story, even if sometimes the Broadway divas are more fun.
The stronger first half leans heavy on satire and comment on vacuous and attention-grabbing celebrity activism but then proceeds to become slightly guilty of this same criticism the more it goes on.
As is often the issue with Murphy productions, the structure ends up rather muddled, particularly in the second half. It also can’t help but feel overly long, with much of the last half an hour or more feeling a little repetitive.
Thankfully, the tear-jerking climax is worth the wait, despite the choppy waters along the way.
Ultimately, The Prom is a sweet and schmaltzy musical with a dash of romance and idealism, providing some imperfect yet ideal escapism for the festive season.
Verdict
The Prom may be overly long and muddled in its second half, but it is a joyous and colourful musical extravaganza with a knowing tone and positive message of inclusion.
The Prom is released on Netflix on December 11, 2020.
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