Why so much hype?

Just what I expected

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The acting in this movie is really good.

'Fame' is a fun musical with good songs and dancing. The characters are pretty good too!My biggest problem with the film is the ending. Why is it so bad? Well they leave a LOT unresolved. For example, we don't know whether or not Doris and Ralph get back together. Also some other plot points are left unresolved.I think this is what makes it an 8 rather than a 9.I don't normally like these kind of films, but something about Fame sets it apart from the other Late 70's-Early 80's musicals.Overall it's a fun film with great songs, but a sh*tty ending. An 8.5/10 or 4 stars.

This movie breaks down a lot of the expectations that most audiences have in regards to musicals. However, this movie is still very clearly a musical through and through.One of the biggest expectations audiences have going into a musical is that the characters will frequently just start singing and dancing for no reason. Parker decided to take a different route on how he presented the song and dance numbers. The movie revolves around a group of high school students as they progress through their four years of school at a performing arts high school. Since nearly every character in the story is a singer or dancer, it makes sense for them to sing and/or dance every once in a while. And since I'm sure every one of you knows at least one person that's involved in the arts somehow, I'm also sure you know that it's not completely out of character for these people to randomly start singing and dancing. The characters in "Fame" hold true to this personality trait. Whenever the characters start randomly singing and/or dancing throughout the movie, it may be "weird" according to societal norms, but for actual performers, it's something that could and often does actually happen in real life."Fame" also challenges the purpose of songs in the musicals. Normally, songs in musicals either are vital in progressing the plot or are simply for entertainment. The music in "Fame" does neither of these things. While the songs are vital to the plot, it is not in the conventional sense. Most of the songs in the movie are sung by musicians as they are auditioning, practicing, or performing, rather than simply being a tool to move the plot along. If someone were to take all the songs out of the movie the plot would not make as much sense, because without them the characters singing them would have to be removed from the script. Another thing that is expected out of most musicals is the big production number at the end of the musical that either ties all of the loose ends of the story up or celebrates everyone's good fortune. "Fame" still has a production number, but it fulfills neither of the expected uses. This production number takes place at the students' graduation. It serves as the final chance for both the audience within the movie and those of us watching the movie itself to see all of the characters perform before they go off into the "real world." None of the characters' story lines end with a sense of finality. No one is shown getting a professional job, or an agent, or even a relationship. The characters graduate and that's the end of it. For most audiences, they are expecting the final number to tie up loose ends. Sadly, these people will be left hanging.Even though "Fame" is definitely very unconventional in it's delivery, it is still very strongly a musical. The songs are still very vital to the storyline even though they aren't quite delivered how you would expect. In my opinion, it does a great job at trying to reach to both musical loving audiences and non-musical loving audiences.

Think of this as a very entertaining period piece and in the tradition of Rocky I, Saturday Nite Fever, Chorus Line, and...probably 7-8 I can't recall right now. It's got a real zest to it, enthused performances, compared to DANCING WITH THE STARS winners, decent dancing, and a fabulous soundtrack. Speaking of the soundtrack, it's so cool that a '60s icon, Lesley Gore, along with her Brother, composed a true classic, in full modern style, "Out Here On My Own". (although, sad to realize that if Lesley had it out on a single/album, it might have had a cup of coffee on the Top 100, only).Buy this DVD used or go to the Library. Or buy it "new".I did see this flick in the movies!

Ginger Rogers, Katherine Hepburn and Frank Sinatra, fame is associated with glitz and glamour, big parties, more money than you can ever could dream off and millions of adoring fans all screaming your name. But what they don't tell you is that fame can also be associated with a world of no trust, self loathing, and drug abuse, loss of a perspective or reality and heart break. For every rags to riches story, is a slow painful descent from the heavens and the stars into a hell were you constantly face the dark side of humanity. For every Beyonce there is a Marilyn Monroe, for every Clint eastwood there is a Kurt Cobain and for every Jerry Seinfeld there is a Michael Jackson. Fame has the beautiful, yet macabre ability to change some people's lives, and destroy others. So why do we risk so much and seek it so adamantly? Everyone has their own reason for wanting fame, but the most common is our quest for acceptance, and when you're a young teenager in the most populated city on earth, you can still feel more isolated than if you were the only person there. 1980 was the very forefront of the massive boom in coming of age films, which details the lives of young people and their trials and tribulations of the difficult and confusing transition into adulthood whilst trying to recover from pain of watching their childhood end. But whilst later films like Dazed and Confused and American Pie took more of a light hearted and humorous tone, it was Alan Parker who brought us a more realistic, gritty and niche magnifying glass into the lives of teens in New York City. They come from all walks of life, from the poor Bronx to the right upper eastside of Manhattan, however what they all have in common is a whole lot of ambition, dreams and talent and insatiable hunger for fame, but the world is cruel and not everyone has what it takes to make it. Over the course of; Auditions, freshman, sophomore, junior and senior year we follow the lives of; Leroy (Gene Anthony Ray) the hot headed naturally gifted dancer who can't read, Montgomery (Paul McCrane) a ultra serious thespian struggling to come to terms with his homosexuality, Ralph a street wise compulsive liar, Bruno (Lee Curreri) who is by far ahead of his time and lastly Doris a personality less shrinking violet who soon learns to blossom. Besides Doris who seems forced by her mother to pursue a life in the creative arts, the exact motivations for each of the main characters reasons for wanting fame is generally unclear and the film never really explicitly defines them, but as the audience we don't care because in each of these kids we see a little bit of ourselves, and thus will them to success with all our hearts. Similar to a Robert Altman film we weave effortlessly through the ensembles lives, experiencing their uplifting highs as well as their crushing lows as if we were actually standing right next to them throughout. Warning don't expect any fairy tales and happily ever afters in Fame; there is abortion, exploitation, attempted suicide, racial divides, death and drug abuse in Christopher Gore script that never stops shocking you and sending you on an emotional roller-coaster, as you immerse yourselves in the lives of these teens, laughing and crying as they do and eventually falling in love with them. Working so expertly with such a young cast of relatively unknowns and producing such a excellent piece of filmmaking, wasn't a flash in the pan or fluke by Alan Parker, because you just have to look back to the toe tapping all kids gangster musical Bugsy Malone as a further demonstration of Parkers ability to work so well and nurture young talent into giving such breath taking performance. In particular the one that stood out to me the most in Fame was Barry Miller as Ralph we was able to pull of the most dynamic and layered character with ease and charm, but never being afraid to lay out his entire soul to the audience. You just have to look at the scene he shares with his mother, sister and preacher in church as an example, a scene absolutely dripping with raw emotion. I personally was one of those people to fall in love not just with the characters but with the film as a whole because it has the grace of ballerina, the power of a Ballard and the ability to provoke thought like a Shakespearean actor. Fame stands fearless, toe to toe with controversy and bat an eye lid, but it's not serious all the time there is a swimming pool full of fun gushing into every scene; the boys in the toilets trying to see into the girls changing rooms and the spontaneous soul-drenched dance numbers, that gallivanted a whole generation of New Yorkers to risk a beat down and try to pirouette on top of a taxi if you haven't already laughed enough. Bring him a well deserved BAFTA nomination, Fame sits aptly next Mississippi Burning and American Express as some of Alan's greatest crowning achievements, which helped him win BAFTA Academy Fellowship Award, the highest honour the British Film Academy can give any filmmaker in 2013. While the immediate legacy of Fame was the double Oscar Winning sing- along inspiring song named 'Fame' named after the film which won the film an Oscar for best original score and a Oscar for best song for Michael Gore. But what really stands out was the films ability to influence later coming of age films in the likes of Footloose and The Breakfast Club, however it should come as great surprise to know that the film only ranked at #42 on Entertainment Weekly's 2006 list of the "50 Best High School Movies". Shocking!