A Kaleidoscopic burst of Fantasyland
“In Xanadu did Kubla Khan,
A stately pleasure dome decree.”
-Coleridge
Much as in the fabled land of Shangrila, nothing can go wrong in Xanadu.
Universal Studios has come up with a hit…a genuine, bona fide, eye-popping hit. “Xanadu” is Imagination brought to life. Its mysterious and enchanting storyline provides just enough substance for the stunning visuals.
“Xanadu” is an inspired blend of differing styles: swing-era jazz and modern metal rock, soft shoe and disco strut, all packaged together with roller skates. “Xanadu” is Gene Kelly, never looking better. “Xanadu” is the Electric Light Orche-tra, with multicolored graphics brought to fren-zied life. “Xanadu” is Olivia Newton-John. packaged and primped for a showcase role which highlights her talents.
And, most noticeably, “Xanadu” is the special effect work of R. Greenberg Associates, Inc. Sequences in this film are unique for a major production, displaying talent, originality, and the unbridled strangeness usually reserved for experimental short subjects. It all comes together in a kaleidoscopic burst of color and song which entrances the viewer.
Also deserving praise is a captivating full animation sequence by Don Bluth Productions. While reminiscent of a similar scene in Walt Disney’s “The Sword in the Stone”, Bluth’s work has a style and life all its own. Plot is threadbare. Artist Sonny Malone (Michael Beck), drowning in a sea of painted pap, longs for a means to express his creative soul. While indulging in a beachside stroll, he meets Danny McGuire (Kelly), a retired clarinetist with a similar feeling of dissatisfaction.
Enter the catalyst, a mysterious beauty named Kira (Olivia Newton-John), who appears and disappears - literally- at whim. McGuire’s secret desire is a nightclub of his own; Malone hungers to create; Kira, always with a laugh of amusement, wishes to see dreams come true.
To reveal more would be telling, but all comes together in the end. What appears slapdash and uncontrolled emerges completely faithful to the premise Richard penned by Christian Damus and Marc Reid Rubel.
Now for the bad news. “Xanadu’s” weakest suit is acting, and it is indeed weak. As a result, the film lacks cohesiveness forthe first 15 minutes. Michael Beck is agonizingly bad. His lines sound like cold readings and have all the credibility of lunar green cheese. Sonny’s co-workers are no better; with luck they will slide into quiet obscurity.
All that changes when Gene Kelly takes the screen. Armed with that disarming smile, Kelly brings his smooth nonchallance to every facet of the film. His calm grace brings a badly-needed air of control to the story. one which director Ro-bert Greenwald could not get without help.
Kelly’s every step is perfectly timed, every move balanced and fluid. Hell, Gene Kelly can walk across a room and look better choreographed than most dancers.
Olivia Newton-John is also quite magical, which is well in keeping with her current hit single. Her innocence and freshness have never been put to better use. She also has a delightful dance routine with Kelly. I hope she was thrilled to do it; I was certainly thrilled by watching it.
Newton-John’s costume designer goes a bit wild during the concluding song. It is a precarious moment which almost goes overboard; the actress seems to be doing a feature spread for Vogue rather than making a movie.
Sharp-eared listeners will also detect the fleeting cameo by another veteran performer, Wilfrid Hyde-White. His role, while brief, is of… ah… Olympian proportions.
“Xanadu” is ultimately indescribable, a moving picture experience which could not possibly translate to paper. Ablaze with energy and inspiration, it is the best film Universal has done in five years.
“Xanadu” is currently showing at the Century Theatres in Sacramento.
By DERRICK BANG