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Fame 1980 Movie Analysis Essay

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FAME (database)

FAME (database)

FAME (forecasting analysis and modeling environment) is a time series database and domain-specific programming language .

FAME was created and first marketed in 1982/3 by GemNet Software of Ann Arbor, Michigan in the United States. founded by David Goldsmith and Larry Rafsky, PhDs in Economics (Harvard) and Statistics (Yale) respectively. It had its roots in ADP Network Services (also of Ann Arbor, Michigan); ADP's TSAM (Time Series Analysis and Modeling) product was a partial inspiration for the original FAME 4GL. TSAM ran on ADP's time-sharing machines, but FAME was intended for general installation on Digital Equipment Corporation VAX (and later Prime Computer ) systems.

Goldsmith was the chief language designer, James Dowling the database and processing engine architect, Tom Steppe designed the graphics engine. Dick Vile wrote the compiler. and Bobbi Guarino did the econometrics .

The first commercial installation was at Harris Bank in Chicago. the second at Salomon Brothers on Wall Street .

It has long since been a tool used by the banking and finance industries, where for example it acts as a back-end storage facility for services like the Financial Times Share Indexes. In the late 1980s, FAME was also used by the JP Morgan company (now JPMorgan Chase ) in their equity quantitative analysis and modeling group to generate models of the stock market. Goldman Sachs. Lehman Brothers. and others mounted similar efforts.

FAME, unlike a relational database. is optimized and designed from scratch to hold data held in a time format. It is based on a B-tree data structure.

GemNet, later renamed FAME Software Corp and then FAME Information Services, was acquired by Citicorp in 1985, and later sold to private investors. In December 2003 FAME Information Services was acquired by Sungard Market Data Services who now offer the FAME database along with a suite of associated products. FAME Software Corporation registered the original fame.com domain in 1992.

* Time series database

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Fame — or Famous may refer to:Film, television and stage* Fame (film), a 1980 musical ** Fame (1982 TV series), a television adaptation of the film ** Fame (musical), a stage adaptation of the film * Fame (2003 TV series), a talent competition * Fame… … Wikipedia

Fame (1980 film) — Fame Theatrical release poster Directed by Alan Parker Produced by David De Silva Ala … Wikipedia

Fame (Série Télévisée) — Pour les articles homonymes, voir Fame. Fame Titre original Fame Genre Série dramatique, musicale Créateur(s) Christopher Gore Production MGM Television Pays d’origi … Wikipédia en Français

Fame (serie televisee) — Fame (série télévisée) Pour les articles homonymes, voir Fame. Fame Titre original Fame Genre Série dramatique, musicale Créateur(s) Christopher Gore Production MGM Television Pays d’origi … Wikipédia en Français

Fame (película) — Saltar a navegación, búsqueda Fame Título Fama Ficha técnica Dirección Alan Parker Producción David De Silva Alan Marshall Dat … Wikipedia Español

Database marketing — is a form of direct marketing using databases of customers or potential customers to generate personalized communications in order to promote a product or service for marketing purposes. The method of communication can be any addressable medium,… … Wikipedia

Fame L.A. — Fame L.A. Titre original Fame L.A. Genre Série musicale Créateur(s) Richard Burton Lewis Pays d’origine  États Unis … Wikipédia en Français

Fame (2009) — Filmdaten Deutscher Titel Fame … Deutsch Wikipedia

Fame - Der Weg zum Ruhm — Dieser Artikel handelt von dem Kinofilm. Für die gleichnamige Fernsehserie, siehe Fame – Der Weg zum Ruhm (Fernsehserie). Filmdaten Deutscher Titel: Fame – Der Weg zum Ruhm Originaltitel: Fame Produktionsland: USA Erscheinungsjahr: 1980 … Deutsch Wikipedia

Fame – Der Weg zum Ruhm — Dieser Artikel handelt von dem Kinofilm. Für die gleichnamige Fernsehserie, siehe Fame – Der Weg zum Ruhm (Fernsehserie). Filmdaten Deutscher Titel: Fame – Der Weg zum Ruhm Originaltitel: Fame Produktionsland: USA Erscheinungsjahr: 1980 … Deutsch Wikipedia

Other articles

Fame 1980 Movie - Fame The 1980 Movie - Remember My Name

In 1980 this movie had passed me by. I was only 12 and with a 15 rating then that’s not really surprising. So I knew nothing about it until 1982 when the TV series was first broadcast.

In the U.K. the BBC broadcast the movie in September 1982, once the first season of the TV series had been aired and was a huge success. By then I was already familiar with the Music, Irene Cara and of course the characters that had transferred to the TV series.

That first time I saw the film, although I thought there were some great parts to it, compared to the TV series, which I loved from the beginning, I was a little disappointed with the movie. It was far more gritty and down to earth than the TV series. Many of the storylines seemed downbeat and some of the characters were far less likeable than the in there series.

Watching as an adult and knowing more of what to expect I have found a new appreciation for the movie. Although it is still the TV series that has my heart the film has grown on me.

The first thing I notice which I find a little strange is that the Fame logo is not used in the opening title sequence at all.

Now, I really like how the initial scenes cut quickly from one to another and we get a little taste and insight into all of the characters. Most of them have something intriguing about them that draws the audience in and the quick changing scenes leave you wanting to see more.

Many of the initial Freshman scenes were replicated, albeit toned down, in the pilot of the TV series and we have the same kind of energy that I loved about the series. “Red Light” is inter-cut through many of the opening scenes, which again was replicated in the TV pilot episode. The TV series also uses storylines like Sherwood's husband being ill, Doris' crush on Michael and Ralph's (Danny's) stand up act & pills scenario.

I really like “Dogs in the yard” but sadly we only get a little taste of it here.

Out of all the Characters I struggle the most with accepting Maureen Teefy as Doris. Probably because I love Valerie Landsburg so much and it’s so hard to see anyone else play Doris. Although along with Ralph Doris probably gets the greatest character development in the film.

Apart from Leroy, Bruno & Shorofsky, Doris and Montgomery are the only characters to really transfer from the movie to the series. Montgomery in the movie is a far more interesting and complex character compared to the TV series version so I don’t mind Paul McCrane but Doris is superior in the TV series, in my opinion.

Bruno and Shorofsky are the closest to their TV characters although they do use some strong language. Bruno doesn't really get any character development during the movie and is pretty constant all the way through.

Leroy is far more extreme than the TV character. Gene is wonderful and in retrospect probably has far more to get his teeth into, character wise, than in the series but this is not the Leroy we know and love from the Series, so he is less likable. How on earth does Leroy get to stay in school after his outburst in class and smashing up all the book cabinets! The movie has us believing that it is realistic but any student behaving like that surely would have been expelled. Here it's never mentioned again.

The strong language in the film was one of the things I initially didn’t like. As a teenager this was totally alien to me. Even now as an adult it still seems pretty strong in places and totally un-fame like to me.

As Irene Cara had already had huge success with the Fame theme and I’d bought her solo album I was familiar with her and so accepted her more as Coco. even though I love the TV series' Erica Gimpel. Despite a different actress the character is very similar to the TV version. Although TV's Coco would never take her top off! Coco isn't stupid and surely when she arrives at the guys apartment she knows that it's not legitimate. I think Coco would have walked out of there. Also when the guy is first talking to Coco he mentions her being in a show. I couldn't tell if he was making it up as we'd not had any mention of Coco getting a part in a show, unless I missed that part.

I find Ralph the least likable character and most of his scenes I find irritating. Even when he’s at his most vulnerable I struggle to like him. I find it strange when Ralph first performs his stage act and most of the kids are present who he says are his friends. It's weird because we never see Bruno really interacting with anyone of the other kids apart from Coco but he's there for Ralph's big chance.

I was always disappointed with how small a role Debbie Allen had in the movie. Debbie has said that originally she was supposed to be a love interest for Leroy and a rival for Coco and she was supposed to have a big production number but that was cut, when Alan Parker had already got hours and hours of footage filmed. Parker also stated that Debbie was a little too old to be a student at the school. Still when I first watched the film I was constantly waiting for her to reappear but was sadly disappointed.

“Hot Lunch” is a great scene with all the students jamming together in the cafeteria. The TV series pilot tries to recreate this with “Take Me” but “Hot Lunch” is far superior.

The ballet solo scene with Antonia Franceschi is wonderful and it’s great how the movie can go from chaotic scenes full of people to gentle tender moments like this. Irene performing “Out Here On My Own” is another example of this.

The “Fame” theme is such an iconic part of the film, with all the students dancing in the street on top of the taxi and cars. I think for a lot of people that is the one scene they think of first when anyone mentions the movie.

When I first watched the film I’d never heard of “The Rocky Horror Show” so the scenes involving that were a little lost on me. However now it is one of my favourite films and so that makes a difference watching here and makes the scenes more fun.

For some we really get a sense that the characters develop over the course of the film and that there has been a large passing of time from the beginning to the end. That’s not something that is easy to achieve and certainly the 2009 remake failed to deliver such strong characters that actually developed and grew over the course of the movie.

It does feel that the stories become a little more downbeat as the characters get older as life has some tough lessons to teach them. There is far more humour in the first half of the film compared to the second half.

Thankfully just as things seem at their bleakest we are ready for graduation and “I Sing The Body Electric”. I really love this song and the performance here. It really brings the movie to a fabulous conclusion with all the students coming together in one wonderful performance of music and dance.

Scarface Analysis Essay - Essay - 1063 Words

Scarface Analysis Essay

Raj Singh
Mrs. Mccormick
Film Class
12 February 2012
Scarface Analysis Essay

The gangster movie genre is one of the most popular among the modern movies and some of the best film directors have produced some very excellent gangster movies. For my first film analysis, I decided to analyze my favorite gangster movie of all time. The movie that I analyzed is called “Scarface” and is directed by Brian De Palma. It was released in 1983 and is still a super hit movie today. Let me go through a short summary of the movie. The movie is focused around the life of a man by the name of Tony Montana and depicts his rise to power from a political refugee from Cuba to a drug warlord. In the course of the movie, Tony Montana also known as Scarface, is able to go from a dishwasher in a small restaurant to a very powerful man in the States through the drug trafficking and distribution of large amounts of Columbian cocaine. The movie shows Scarface’s rise to fame and then his downfall caused mainly through cause and effect. Now that I have briefly described the summary of the film, let us focus on other factors of this film. First, I would like to outline how time is displayed in the film. Time is displayed in a very efficient manner. The opening scene begins with a black and white figure of Fidel Castro giving a speech on how he does not want rebels holding back the revolution in his country. When the credits start, there is footage of ships packed with Cubans being taken to Florida, and from this we understand what Tony has gone through before we pick up with him. After all the credits roll by, the actual movie starts focusing on the main character himself. The opening scene is of an interrogation and the camera is focused on Tony for the most part. From here on the movie runs in a linear sequence and there are no flashbacks or other setbacks. Another point that I want to run across is how the camera shows the one side of Tony’s face that has the scar.

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The Movie Industry Analysis Essay Research

The Movie Industry Analysis Essay Research

The Movie Industry Analysis Essay, Research Paper

The Movie Industry is one of the most exciting and informative business in the world, a business where the revenue of a single feature film can approach or exceed $1 billion. In 1994, U.S. consumers spent over $6 billion on movie tickets and another $34 billion on cable TV and video purchases and rentals. In 1996, worldwide gross revenues generated by motion pictures in all territories and media (including music and ancillaries) amounted to over $40 billion.

These figures were only a fraction of total entertainment outlays worldwide, spent mostly on American-made movies. Over 70% of the population rents or goes to movies regularly, this accounts for over 1.5 billion movie attendance’s each year in the United States.

1) “Blockbuster-ability”, or the ability to consistently produce a wide variety of popular films at a profit;

2) Expanding distribution channels into the ancillary markets where

profit margins are higher; and

3) The value and depth of film libraries, which extend a film’s life cycle and gererate revenues far into the future.

Film profits are rare and difficult to measure. There are high promotional and marketing costs which include fees paid to exhibitors, distributions fees, overheads, interset and expenses ( paid usually to studios distributors). These combined costs greatly reduce the revenue sream flowing to the producer and net profit participants. In addition, certain management decisions made in the beginning, whether or not to hire “star” talent as opposed to an unknown can be quite costly, although this sort of decision may guarentee box office success of the movie.

Diversification & Integration-

The ability to exploit a movie in many markets diminishes investment risk and increases earning potential. Diversification and integration into ancillary markets can turn a movie that has lost money theatrically into a video market winner. Unfortunately, if the studio is a small independent it may cost prohibitive to diversify. If the studio is a “major” that is not already diversified, the competition and cost to do so would be significant factor.

Barriers to entry for independents-

The most obvious barrier to entry is the high cost of acquisition. Larger studios owe their survival to ample resources, which afford them the ability to weather box office disasters. Small studios would not necessarily be able to survive box office failures.

Major studios also have an advantage in their ability to maintain distribution networks across the country and in foreign markets. This ensures that their films get to theaters and television screens.

Thousands of screenplays are in developement at any given time but only 450 to 500 actually become motion pictures. Of those, approximately 173 are actually released to the theaters. Even then, the success at the box office is not guaranteed because that success is always subject to public preference.

Historical trends in the industry-

Feature motion pictures have historically had one major source of revenue in the United States and abroad,”The movie theater.” Industry statistics reveal that in the past ten years there has been an overall increase of at least 30% in many ancillary markets and over 200% in the case of home video. Today much of the world is undergoing a mass communications revolution; hence, new movie markets such as home video, cable and pay-per-view have been growing so rapidly that they are no longer just ancillary markets to the basic theatrical market but have become basic markets in themselves.

The latest technological frontier for motion picture companies was in direct-access TV through telephone lines.

With the advent of the new computer-based technologies, “cable” markets and direct digital-delivery of motion pictures via satellite and the Internet are expected to increase dramatically over the next five years, creating an accelerated demand for original and re-run motion pictures.

What is the competitive environment?

There are thousands of screenplays in development at any given time, however each year only 450 to 500 of these are produced into motion pictures. Although the majority undergo principal photography in the United States, approximately 60 to 80 are shot offshore (including Mexico and Canada). Of these approximately one-third come from the majors (Disney, Sony, (Columbia-Tristar), Warner Brothers, Universal, Paramount and Twentieth Century Fox) and approximately two-thirds from the “independents”.

“Independents” are those companies engaged in the production and/or distribution worldwide in all media of all motion picture and television programs that are not generated by the recognized major studios. It includes those independent productions, even those distributed by a major studio, in which the producer retains a significant ownership interest and is at risk for a significant portion of the production cost.

Of the 450 to 500 feature films produced each year, only 155 were given a theatrical release in 1994, 169 in 1995 and 195 in 1996. Thus a significant number of features do not get a theatrical release but are released directly to home video and other media.

Producing and/or financing these movies are approximately 6 major studios, 50 to 80 major independent production companies and over 1,200 smaller independent production companies. The domestic market share is evenly distributed.

Any major changes in the market?

*** (The Movie Industry by James Jaeger). Increased foreign demand for U.S movies is reflected in the fact that recent export sales to foreign markets hit an all time high in 1997. The European foreign market accounts for 56% of global revenues generated by English language.

One of the most attractive markets is centered around the Far East, Japan being the largest. Focus on Asian themes has produced many movies that clearly reflect this trend.

Generally speaking, if an English-language film made for U.S. release does well domestically, it becomes popular in foreign markets, particularly in Europe.

All of this popularity and success internationally has not come without a price. Some countries began to complain about the spread of American culture due to the movie industry. In order to soothe these complaints, Disney and Miramax announced in October 1994 the creation of a company to promote the distribution of French films in the United States and increased funding to French filmmakers.

Relaxed enforcement of the 1948 antitrust decree under Reagan administration which allowed Universal, Paramount, and Columbia to acquire interests in various theater chains.

Rapidly changing demographics. Shrinking population of 13 to 25 year olds who would traditionally see as many as 12 films per year. Real growth audiences were becoming both younger and older. The older group (40-49) appreciated mature themes; those with children were also attracted to family oriented movies.

Distribution media is dynamic. Beginning in the late 1980’s, ancillary markets (videos, TV, cable, or pay per view) began to emerge as the high-growth segment in the industry. This growth had a negative impact on box office sales as ticket growth was limited by the relatively inexpensive availability of movies outside the traditional theater.

Key Industry Financial Statistics:

* Average Cost per Film

* Profitability (by Operating Margin Percentage)

Results of past marketing strategies and current marketing strategies-

Control and expansion of distribution channels has always been a primary objective of major studios. In 1950, many theaters were owned by major movie studios. This represented a trend toward vertical integration into theaters. This risk-reduciton strategy combines the production, distribution, and exhibition functions under the studio’s control.

The distribution pattern seen in theaters was reproduced in ancillary markets. As with theater exhibition, films in the motion picture industry began to vertically integrate into these media, owning cable stations, TV networks, and video chains.

Even more recently, technology has improved to include such state of the art viewing options as Pay-Per-View, Digital Video Disc (DVD’s), satellite television, and Home Theater (surround sound). Interactive Video and computer games are another huge new market that is rapidly expanding.

Ancillary markets have proven to be invaluable sources of revenue as in the case of Star Wars and Jurassic Park. There were such spin-offs as toys, games, T-shirts and novelty items. These spin-off sales may eventually be as significant as revenues the picture has already earned in various other markets.

Significant socio/economic trends

*** (Entertainment Industry and the Environment – Internet) Many studios and production facilities have developed comprehensive environmental policies. Many studios have organized task forces made up of various department heads to oversee the implementation of these policies. They began recycling programs and then closed the loop by purchasing recycled products, including office paper, tissue products, towels and toner cartridges.

The movie industry has proven they are in tune with consumer preferences when between 1991 and 1993, movie companies cleaned up their films by increasing the number of G rated movies.

ANALYSIS OF STRATEGIC ISSUES

Strengths – Reputation, high standards set by Disney. Diversity & experience in animation

Weaknesses – Dependence on animation. Disney’s need to continually attract artistic talent for its animation portfolio. Reliance on visibility and name recognition for marketing advantages.

Opportunities – Old movies; new release directly to video. Development of the international sell-through market could allow disney to double or triple its foreign video revenues by the year 2000.

Threats – Damaged reputation due to expansion into mix of movie themes in the industry. R-rated thrillers (Pulp Fiction)(The Crying Game).

Strengths – consistent track record and ability to avoid costly bombs. Notable success worldwide. Fulfilled moviegoers’ desire for westerns when other studios did not.

Ability to put together production deals with independent production companies.

Their film library dates back to 1949 and consists of over 1800 films.

Weaknesses – Inability to keep up with competition (Disney).

Opportunities – Warehousing and distributing advantages with its music division. Video release of certain blockbuster hits on a direct sell-through basis.

Warner Brothers Network (The WB) and the Full Services Network (FSN). Warner Brothers would be a direct competitor with Paramount to obtain broadcast stations as network affiliates and the FSN would offer pay per view, home shopping and video games.

Threats – Disney and Universal are major competitors at the box office.

Strengths – Vertically integrated, owns a variety of ancillary markets. Relatively small firm library as compared to others in the industry, but the value per each title is significant. Reputation of being “blockbuster kings”.

Weaknesses – Loss of identity due to the merger with Viacom. Paramount is so diversified and each of its subsidiaries has maintained its own name causing a diminished recognition of the Paramount name.

Opportunities – Viacom-Paramount so large and successful, it should be able to benefit from the development of multimedia services worldwide.

Threats – So diversified this company could be in danger of losing the Paramount name. Dreamworks and other up and coming independents’ may pose a threat.

Twentieth Century – Fox

Strengths – Consolidation of Twentieth Century Film Corporation, Fox Television stations and Fox Broadcasting has benefited the company with the release of motion pictures to television via the videos, pay per views and the exclusive licensing agreement with HBO.

Weaknesses – Reliance on a small number of “blockbusters” and a limited number of films being produced. Diversification appears to be limited to cable and network TV.

Opportunities – Creative alliances that aid the company in reducing financial risks through the development of diversified production and distribution cost mixes.

Twentieth Century Fox will continue to benefit from their international market. For example, Fox has licensed motion pictures to British Sky Broadcasting and to Star Television (Asian TV). They have also launched a cable programming service in Latin America.

Threats – Fox has limited their growth of many ancillary markets and therefore has failed to keep pace with the competition.

Strengths – Universal Pictures has subsidiaries that produce and distribute non-theatrical films, motion pictures and television.

Universal Pictures and their subsidiaries have amassed a film library of over 6000 titles that include such films as Jurassic Park whose total revenues exceeded 8 billion.

Weaknesses – Now Japanese owned, Universal is limited in their ability to diversify due to management decisions caused by the Japanese recession.

Opportunities – Ability to expand into different markets such as the toys, games, etc. (Will they take advantage of this)?

Threats – Much of Universal’s success can be attributed to the long time relationship between the company’s CEO & their leading director Steven Spielberg. Mr. Spielberg has started his own film studio, Dreamworks which is expected to be yet another major studio.

The creation of Dreamworks caused internal discord between the Japanese parent company and U.S. subsidiaries.

Sony Pictures Entertainment (Columbia-Tristar)

Strengths – Sony purchased columbia – Tristar in 1989 and has doubled its price to sales ratio value as of 1994. Concentration strategy (they make movies).

Weaknesses – Depressed earnings, high production costs and excessive spending. Lack of diversity.

Opportunities – Availability of technology from other areas of the firm (Sony). This affords them the advantage of remaining on the cutting edge for new technological developments in the movie industry (DVD’s, computer enhanced films).

Threats – Lack of ancillary markets due to previous debt position which made the company potentially attractive for takeover.

Where is this industry currently headed?

The movie and entertainment industries are taking the use of information technology to an extreme. They have embraced the technology and are using it for everything from online publications to games to special effects for our favorite movies. Video releases continue to provide a great deal of profits for many of these studios.

The entertainment industry has always been a leader in the use of new industry technologies. Since the arrival of the digital age, firms that once focused on a film production are now producing interactive CD ROMS, Digital VideoDiscs and production studios are even offering WEB services. The channels of delivery have broadened significantly.

Where should each of these major studios be headed?

Disney has benefited from great leaders, visionaries over the years. The focus has always been quality and innovation. The Disney Brand is well known all over the world and as the organization continues to expand both with products and geographically, care must be taken to ensure the Disney name and reputation.

Warner Brothers is doing a fine job of revving up of their ancillary markets. They are currently well diversified. I recommend that Warner should continue on the same path however, this rapid growth could mean trouble. They should install contingency plans throughout their organization to mitigate the risk of rapid expansion into different ancillary markets.

Paramount Pictures, touted as the “blockbuster king”, should remember that picking hits is still largely guesswork. In order to improve their position and guard against a time when they may not be the “blockbuster king”; Paramount must develop a plan to aggressively increase its film library.

Twentieth Century Fox relies heavily on blockbuster films and produces only a small number of films each year. They have limited themselves to cable and network television in the ancillary markets. Fox is heavily involved in many other areas, News Corp. Fox News Channel, Fox TV & Fox Family Channel.

I believe they are “missing the boat” with regard to the video market. The video market is one that continues to generate profits long after the movies are actually made.

Universal Pictures can attribute much of its success to Steven Spielberg. When he left to form Dreamworks, Universal began to experience some in-fighting. Although Spielberg initially used Universal for foreign distribution, I do not expect this to continue as Dreamworks’ continues to have such successes as this summer’s “Saving Private Ryan”.

Since there was so much reliance on Spielbergs’ name and films, I feel that Universal will not be able to maintain their ability to compete with the other majors. The previously mentioned in-fighting only magnifies this problem.

My first recommendation is that Matsushita look for a buyer for MCA and Universal. Preferable a company with experience in this industry, one that would take advantage of the opportunities with the ancillary markets as well as new opportunities with the amusement park operations.

If this is not possible, my second recommendation is that Universal should aggressively work towards a formal review of their current business strategies and make the first order of business to resolve the in-fighting. All of management both the parent company and the U.S. executives should be “on the same page”.

If this is accomplished, a plan should be developed to align themselves with some other successful directors and/or recognizable and respected industry leaders.

If none of this is possible, I do not believe this company will survive.

If Sony (Columbia-Tristar) is going to continue with this “concentration strategy” of theater exhibition only, they must make a concentrated effort to improve their revenues, reduce spending, and cut costs. This could be accomplished through “talent buying”. The company could utilize professionals to help in acquiring either actors or directors with “star power” that would improve the odds of movie’s success.

I also feel that Sony should place more emphasis in their technology division and should focus in that arena. They remain on the technological edge and could possibly gain the leading position within that market. With emphasis in the Research and development division the possibility of new market share is endless.

1. Gunther, Marc. “The Rules According to Rupert.” Fortune October 26, 1998 issue

2. Family Motion Pictures – Industry Statistics

3. Jaeger, James. “The Movie Industry.”

Review - Fame (1980)

Review - Fame (1980)

"Fame" is the story of a group of young adults who we follow at a New York school for the performing arts from their audition to get in through to their graduation taking in the ups and downs of those trying to make it as a performer.

Review

"Fame" is the story of a group of young adults who we follow at a New York school for the performing arts from their audition to get in through to their graduation taking in the ups and downs of those trying to make it as a performer.

As a teenager I remember tuning in daily to "Fame" the tv show and I was not alone because "Fame" was a worldwide success which came about thanks to director Alan Parker who in 1980 gave us "Fame" the movie which lead to the successful series. Now some 30 years later and Amaln Parker's "Fame" hasn't lost any of it's appeal which made it such a great movie when originally released.

One of the most striking things about "Fame" is it mixes authenticity with entertainment. From those opening scenes where we watch various hopefuls going through their auditions there is something very real about it all, the sweat and tears yet there is also humour and light hearted moments squeezed in to lift it. It's the authenticity which really helps paint an interesting picture of life as a struggling performer and despite not being allowed to film "Fame" at the Fiorello H. LaGuardia High School of Music and Art and Performing Arts he manages to capture the feel of it.

The aunthenticity of it makes "Fame" come across with a touch of the "fly on the wall" as we watch several of the students go through more than a few turmoils whilst studying at the school. It's almost documentary like but with those lighter touches, the musical scenes and moments of comedy mixed in with emotion raise it up to be more entertaining that factual. But because it does look at how these young men and women struggle makes for fascinating viewing from problems surrounding sex, unwanted pregnancies, drugs and of course the whole stress which comes with demanding teachers who expect the best.

In amongst all of this there are some amusing relationships and partnerships from Dorothy, Montgomery and Ralph through to Bruno and music teacher Shorofsky an antagonistic teacher pupil relationship which would then go on to become a mainstay of the TV series. As such "Fame" is full of some solid performances such as Lee Curreri as Bruno, Irene Cara as Coco and who can forget Gene Anthony Ray as dance sensation Leroy. Even Paul McCrane, better known as Dr. Romano in ER, appears as Montgomery an aspiring actor who is also dealing with his own sexuality.

Plus of course "Fame" is also a musical and quite a good one with various memorable songs. Of course with is being set in a school for the performing arts most of the musical scenes feel like they naturally belong and most are quite touching in one way or another with some very emotional lyrics. But at the same time there are some muscial scenes most notably the famous dancing in the street and the impromptu song and dance in the small canteen which feel forced and manufacturer although still hugely entertaining.

All in all even after 20 years Alan Parker's "Fame" is still a pretty damn good movie. It manages to deliver realism with entertainment to give an interesting look at life of a wannabe actor, singer or musician whilst also delivering some light hearted moments especially the various musical interludes.

Info

Cast: Irene Cara, Lee Curreri, Albert Hague, Gene Anthony Ray, Paul McCrane, Maureen Teefy, Debbie Allen, Laura Dean, Eddie Barth, Anne Meara, Barry Miller
Director: Alan Parker
Year: 1980
Length: 134 mins
Cert: 15

About Me

Andy Webb writes movies reviews covering anything from the classics through to modern. Click here to read reviews by Andy Webb at The Movie Scene.