Movie Review

Photo courtesy of Hulu

Reviewed by Jeffrey Sanzel

One of the most fascinating public figures of recent years is Greta Thunberg, the Swedish environmental activist. At the age of fifteen, Thunberg began a solo protest of climate change by sitting outside of Swedish Parliament. Beginning in August of 2018, she spent the days she should be in school with a sign reading “School strike for climate.” 

Thunberg’s quest to bring attention to climate change has sparked a worldwide movement, bringing both support and harsh criticism to her and her cause. The documentary I Am Greta tells this story. Director Nathan Grossman followed Thunberg from her early protests in 2018 to her testimony at the U.S. House Select Committee on the Climate Crisis the following year. Whether Grossman was prescient or just lucky is hard to judge.

The film chronicles Thunberg’s rise in fame: from people on Stockholm streets questioning why she wasn’t in school to meeting European heads of state. Furthermore, it touches on how she became a target of derision from deniers across the globe. At the heart of Thunberg’s message is her belief that the adults of the world have failed to stop what is the most dangerous and most immediate threat to the future. She calls out this failure to act: “Adults always say one thing and then do something completely different.” She has no hesitation in citing hypocrisy

Presented early in the film is Thunberg’s Asperger’s, a syndrome that places her on the autism spectrum. She has not seen this as restrictive. “Sometimes, it seems that we who have Asperger’s —autism — are the only ones who see through the noise.” She believes that this condition has allowed her the ability to give climate change her complete focus. When asked by a reporter if she suffers from Asperger’s Syndrome, she replies, “I wouldn’t say I suffer from … but I have it.” Further, she states: “I don’t see the world in black and white. It’s just the climate issue I see in black and white. “Sometimes I feel that it might be good if everyone had a tiny bit of Asperger’s … at least when it comes to climate.”

Thunberg’s obsession with what she considers “the defining issue of our time” began when she was eight years old. The showing of a film in school on the topic sent her into a deep depression. She stopped eating and suffered from selective mutism. Until that point, her family led a “high consuming” life, as demonstrated in a handful of home movie clips. Thunberg explains her insistence that her family converted to lives that were simpler and environmentally friendly: no flying, using an electric car, giving up meat and dairy, etc. 

The film is a wealth of footage of her crusade across the world. Starting with the passing out of flyers in Stockholm to her speaking to 30,000 people at the U.N. Climate Change Conference in Poland to a string of engagements throughout Europe, she continues to spread her message. Thousands of students have taken up her #FridaysForFuture. 

Throughout, Thunberg confronts leaders for going forward with the same bad ideas to remain popular; she makes clear that popularity is not her concern. This view has made her a lightning rod for petty politicians who dismiss her as “mentally ill.”

Perhaps the most frustrating part of the film is the title: I Am Greta. It would have been better titled Greta’s Journey or Greta Thunberg, Activist. There are no interviews with people who know her or have worked alongside her. There are glimpses of who she is but many of these moments have a disingenuous feel. There is a good deal of footage of day-to-day life with voiceovers — in class, in the car, in the lunchroom — but nothing that adds up to a better understanding of her as a person. There are a few moments of her dancing that seem inorganic. Thunberg’s struggle to finish writing a speech and her father arguing with her to stop feels strangely staged. And yet, perhaps it is this absence of personal details that gives a stronger sense of her preoccupation.

In a revelatory moment, she says, “I don’t like making small talk … socializing with people …” which can explain the stretches of silence and the lack of her interaction beyond the driving passion. She indicates that she grew up with other children being unkind; she was not invited to parties and was always left out. She spent most of her time being with her family and her dogs. Her father is the most present in the film, with her mother appearing briefly and her sister not at all.

One of the joys is her spontaneous laughter that pops up in unexpected moments. In particular, this is Thunberg’s response to those attacking her on social media; her ability to see their smallness and inconsequentiality are telling. She laughs hysterically in reaction to a photo of herself with Pope Francis. Another personal moment is her mother teaching her to bake. Again, the laughter indicates this is a genuine event.

The climax of the film is her address to the U.S. House Select Committee on the Climate Crisis on September 18, 2019. Since she refused to fly, she took a harrowing fifteen-day journey in a sailboat from Plymouth, England, to New York harbor, where she was greeted by hundreds if not thousands of supporters.

Her eight-sentence statement to the committee — spoken in her nearly flawless English — is scathing and resonates in its directness. “How dare you?” The message is summed up with “You are failing us.”

“The world is waking up and change is coming whether you like it or not.” Thunberg has inspired the largest strike for climate in history — more than seven million people. And yet, the world is still not on track to meet the Paris Agreement. She still goes on strike every Friday. And hundreds of thousands still support her. “Once the climate crisis has gotten your attention, you can’t look away.” Ms. Thunberg has our attention. The rest is up to us.

I Am Greta is currently streaming on Hulu.

A scene from 'The Maltese Falcon'. Photo courtesy of Fathom Events

In celebration of its 80th anniversary, “The Maltese Falcon” will be screened on Sunday, Jan. 24 at AMC Stony Brook 17 at 3 and 7 p.m., and Farmingdale Multiplex and Island 16 Cinema De Lux in Holtsville at 3 p.m. and on Jan. 27 at Island Cinema De Lux at 7 p.m., courtesy of Fathom Events and TCM Big Screen Classics. Academy Award® winner Humphrey Bogart stars as tough private detective Sam Spade in the classic, convoluted story of Spade’s involvement with a deadly band of international thieves who will lie, double cross and murder to obtain a small, jewel-encrusted statue known as The Maltese Falcon. For advance tickets, visit www.fathomevents.com.

by -
0 1254
Photo from Netflix

Reviewed by Jeffrey Sanzel

The world of cinephiles divides between those who think Citizen Kane is one of (if not the) most brilliant films ever made — and those who think it is over-rated. Hundreds of thousands of words have been written about the film, dissecting its structure, cinematography, symbolism, background, and place in moviemaking history. 

The American Experience produced the documentary The Battle Over Citizen Kane (1996). It chronicled the battle between Orson Welles and William Randolph Hearst over the creation and release of the film. It was followed in 1999 by the historical drama RKO 281, which covered the same material and starred Liev Schreiber as Welles, James Cromwell as Hearst, and John Malkovich as screenwriter Herman J. Mankiewicz.

Netflix now offers David Fincher’s Mank. Fincher, best known for thrillers (Seven, Panic Room, Alien 3, Fight Club), has directed his late father Jack Fincher’s fascinating screenplay, less exploring Citizen Kane but instead focusing on the man behind the screenplay, Herman Mankiewicz. This is a piece of high style, evoking the noirish films of the 1940s; in essence, it tells the story in the way in which Welles himself would have. 

The film alternates between 1940 when Welles is eagerly waiting for Mankiewicz to finish the screenplay, and the early 1930’s where Mankiewicz is struggling to find a foothold. The screenplay, which would become Citizen Kane, is a thinly veiled and vicious take on the life of newspaper mogul Hearst and his relationship with his lover, Marion Davies. Mankiewicz is to receive a large fee for the screenplay but no credit. Laid up with a broken leg, he embarks on meeting Welles’ deadline.

Those looking for an account of the making of Citizen Kane should look elsewhere. Mank is instead an exploration of Hollywood, specifically the politics of show business and show business’ involvement in politics. A good deal focuses on the California gubernatorial election of 1934 and how the Republican MGM hierarchy ran a smear campaign against left-wing author Upton Sinclair.

Presented is a Hollywood of hedonism and an old boys’ network, of backroom deals, demanded loyalty, and the unchecked intersections of film, power, and money. In the midst of this is Mankiewicz who is battling his demons, both in his career and with his alcoholism. It is a story in which the protagonist is Quixote and Cervantes, an intriguing and demanding drama that requires full attention.

If the definition of being a great actor is to lose oneself in the role to the point of being unrecognizable, then there is no finer actor than Gary Oldman. He is a true chameleon. It is hard to measure his performances against each other because no two are alike in any way. His Mankiewicz is unique: charming, insightful, dissipated, conflicted, and inscrutable. It is one of the best performances of 2020.

Amanda Seyfried brings charisma and depth to Marion Davies, in contrast with Citizen Kane’s Suzanne Alexander Kane, a spoiled and unaware gold digger; Seyfried’s Davies has a core of honesty and a surprising self-awareness. Arliss Howard is effective as the volatile studio head Louis B. Mayer, a monster manipulator with no conscience. Charles Dance finds shades in his portrayal of Hearst that humanizes the character but in no way detract from the man’s ability to destroy. Tom Burke’s Orson Welles hovers around the periphery, more seen than heard (which is a good thing as he has successfully recreated Welles’ voice as his resemblance is only passing). Sam Troughton makes for a fussy John Houseman, sent by Welles to watch over Mankiewicz. Tuppence Middleton finds warmth and intelligence in Sara, Mankiewicz’s tolerant wife, as does Lily Collins as Rita Alexander, the willful secretary who assists him. The film is populated with cameos of icons of the era (Joan Crawford, Norma Shearer, Ben Hecht, George S. Kaufman, etc.) that enhance the epic feel.

The film is shot in rich black-and-white; Erik Messerschmidt’s cinematography deserves high praise. Equally credited should be Kirk Baxter’s spot-on editing. Donald Graham Burt’s production design complements the art direction of Chris Craine and Dan Webster. Trish Summerville’s hundreds of costumes perfectly reflect the era. 

Fincher’s collaboration with these artists has resulted in a vision of the darker Hollywood of another era. Mank is not so much a film about a film. It is instead a thoughtful portrait of the construction of art in the face of warring forces. 

In the end, Mankiewicz (who did not attend the ceremony) receives the Academy Award for Best Screenplay. Mankiewicz’s career would never reach another high of this proportion, and he would die thirteen years later from complications due to alcoholism, a genius dead at the age of fifty-five. This tacit and disturbing ending is an appropriate coda to an introspective and absorbing film.

Rated R, Mank is currently streaming on Netflix.

A scene from 'Runaway Princess.' Photo from CAC

The Cinema Arts Centre of Huntington has joined forces with Empowerment Collaborative of Long Island (ECLI) to host Runaway Princess: A Hopeful Tale of Heroin, Hooking, and Happiness, an award-winning show about sex trafficking, as part of Human Trafficking Awareness Month.

This free one-night-only event will take place on Tuesday, January 12, and will feature a screening and discussion with a panel of Human Trafficking experts. Runaway Princess, written and performed by Mary Goggin and directed by Dan Ruth, is a true story, laced with wicked humor and much pathos, of Mary’s Irish Catholic upbringing, drug addiction and prostitution, and the multitude of characters she encounters along the way to ultimately find joy.

The discussion and Q&A will include a panel of human trafficking experts: Mary Goggin, survivor, Runaway Princess writer, and performer; James P. Murphy, Detective Sergeant with the Suffolk County Police Department; and Molly England, MSW, Suffolk County Anti-Trafficking Initiative (SCATI) Task Force Coordinator. The event will include a discussion of the Suffolk County Anti-Trafficking Initiative (SCATI) task force’s response to human trafficking, and its work to prevent, identify and support survivors of human trafficking, successfully prosecute traffickers, and to educate the community and raise awareness about human trafficking issues in Suffolk County.
Free but registration is required. The show will be available to watch on Monday, January 11 through Tuesday, January 12. Attendees are encouraged to watch the show at 5:45 p.m. on Tuesday, January 12, and immediately join the live Zoom Q&A at 7 p.m. If you’d like to donate and support survivors of human trafficking and the work to combat human trafficking here in Suffolk County, please visit www.empowerli.org/donate.

David Millar in Finlay Pretsell’s ‘Time Trial’. Featured in BFF NYC19. Image courtesy of Bicycle Film Festival

The Bicycle Film Festival is coming to Long Island! The international film festival celebrating bicycles through art, film and music throughout the last 20 years is back – and now it’s virtual! Hosted by the Cinema Arts Centre in Huntington, the festival begins January 22 and runs through January 31.

Bicycle Film Festival Long Island official logo

BFF Long Island presents a 90-minute international film program of the most important short films from the BFF collection. BFF select shorts will appeal to a wide audience from film connoisseurs to avid cyclists and everything in between. Let the BFF curated collection take you on a journey around the world as we learn about a charismatic Ghanaian immigrant in Amsterdam who teaches refugee adult women to ride bikes – experience a birds-eye view of a BLM bicycle protest ride from New York to DC – feel the anguish of a father’s loss – the struggle of a young woman and her bike in Iran – and reprieve from genocide through cycle sport.

“In a year of a global pandemic, economic strife, violent acts by racist groups, a contentious election period the bicycle boom worldwide is optimistic news to celebrate. We hope to offer a positive respite from all of this for people,” said BFF Founding Director, Brendt Barbur.

Founded in New York BFF has been celebrating bicycles through art, film and music the last 20 years. The physical BFF spanned the world in up to 100 cities to an audience of over one million people. The international locales included Paris, London, Tokyo, Shanghai, Moscow, Mexico City, Capetown and Istanbul and more at some of the most important venues such as Sydney Opera House and the Barbican or an old factory in Zurich. The Subcultures of cycling have shared equal billing with the most exciting innovators in music, art, design and film. Participants have included: Erykah Badu, Karl Lagerfeld, Francesco Clemente, Shepard Fairey, Albert Maysles, Michel Gondry, Spike Jonze, Alex Katz, Kaws, Mike Mills, Paul Smith, the Neistat Brothers, Tom Sachs, Ridley Scott, Kiki Smith, Swoon, and Ai Weiwei.

Program Event Fees: Pay-what-you-want, between $10 and $25. Tickets can be purchased on the Cinema Arts Centre website. www.cinemaartscentre.org. Or by visiting the event page: https://bit.ly/BicycleFFLI

'When Hitler Stole Pink Rabbit'

Organizers of the Stony Brook Film Festival hosted a virtual awards ceremony on Tuesday, Dec. 15. All of the festival winners were in attendance at the ceremony to accept their awards. 

Jury Award for Best Feature

‘The Subject’

The Subject, directed by Lanie Zipoy and written by Chisa Hutchinson, won the Jury Award for Best Feature. The Subject tells the story of a successful documentary filmmaker haunted by his last film, which captured the murder of his subject, a black teen in Harlem. The timely film explores the relationship between an artist and their subject and addresses the harsh reality of race and class among the privileged. The film features Jason Biggs, Aunjanue Ellis, Anabelle Acosta, Carra Patterson, Nile Bullock, and Caleb Eberhardt.

Audience Award for Best Feature

When Hitler Stole Pink Rabbit, directed by Caroline Link and written by Anna Brüggemann, Judith Kerr, and Caroline Link, won the Audience Award for Best Feature. The film features Riva Krymalowski, Marinus Hohmann, Carla Juri, Oliver Masucci, and Justus von Dohnányi. When Hitler Stole Pink Rabbit is a German film based on the beloved semiautobiographical children’s book by Judith Kerr. 

Anna is a nine-year-old living with her family in Berlin in 1933 when her life completely changes. To escape the Nazis, her father — a well-known Jewish journalist — quietly flees one night, and the rest of the family follows. Anna has to leave everything behind, including her beloved pink rabbit, and begins a new life full of challenges as a refugee abroad. A beautiful story for the whole family, filled with suspense, drama, sadness, and hope, with a timely message about being a refugee in a foreign land.

Jury Award for Best Short

They Won’t Last, a lighthearted short film written and directed by Portlynn Tagavi, won the Jury Award for Best Short. The film tells the story of a woman’s uncertain future when her hopeless boyfriend proposes after a friends’ perfect wedding.

Audience Award for Best Short

The Audience Award for Best Short was presented to Extra Innings. Written and directed by John Gray, the film tells the story of a reporter who interviewed the Boston Red Sox manager in an attempt to uncover secrets from his past. 

Spirit of Independent Filmmaking

The final award presented was the Spirit of Independent Filmmaking, which is awarded to a filmmaker whose work exemplifies the spirit and breadth of filmmaking where the focus is on the art and most often produced with an extremely limited budget. This year’s recipient was Higher Love. Written and directed by Hasan Oswald, the film is a harrowing and unblinking documentary about lives affected by hard drugs, shown with honesty, compassion, desperation, and hope. 

Like many other events around the country, this year’s Festival went virtual through a partnership with IndieFlix. Attendance soared with the virtual option as patrons across the country tuned in to watch the films with family and friends every weekend. Attendees sent regards from across the country, saying “what a relief to have this escape during this time,” and “these films are the only bright spot in our week.” 

“We were thrilled to be able to offer this virtually during the Pandemic, and we were so happy to receive such positive and uplifting feedback from our patrons. The arts are needed now more than ever, and we can’t wait to get back to offering world-class programming in person as soon as it’s safe to do so. Until then, we’ll keep getting creative with virtual programming,” said Alan Inkles, Director of the Stony Brook Film Festival and the Staller Center for the Arts.

The Staller Center for the Arts also announced on Tuesday night that virtual films will continue. Patrons can purchase a Spring Movie Pass to view 14 films for only $40. Films will be offered virtually throughout the Spring using the IndieFlix app. Additionally, the center will continue to provide virtual arts and education outreach and other virtual programming options throughout the year. Visit stallercenter.com or stonybrookfilmfestival.com for more information.

Viola Davis in a scene from the movie. Photo from Netflix

Reviewed by Jeffrey Sanzel

August Wilson, one of the foremost American dramatists, created the ten-play cycle The Pittsburgh Plays. The pieces explored different elements of the African-American experience, each work set in a different decade. The second play (and third chronologically) was Ma Rainey’s Black Bottom. Inspired by blues singer Ma Rainey, it was set in a fictional recording session in Chicago. It opened on Broadway in 1984, receiving strong press and running for 276 performances.  

Netflix now offers an excellent film that enhances the stage production. George C. Wolfe has skillfully and sensitively directed a screenplay by Ruben Santiago-Hudson. Santiago-Hudson has wisely drawn the majority of the script from Wilson but has opened it up, most notably with a prologue showing Ma Rainey’s southern performance roots and the shift of African Americans from south to north in the Great Migration.  

The action shifts to the studio where the musicians await the arrival of Ma Rainey. The artists smoke, drink, and banter, and philosophize. But what seems like random chatter is a reflection of social injustice then and now. The men offer stories and anecdotes, with this slice of life elevated by Wilson’s honest and poetic words and exceptional performances.

Serving as the leader is guitarist and trombonist Cutler (Colman Domingo); Toledo (Glynn Turman) is the pianist and eldest of the group; Slow Drag (Michael Potts) plays double bass and Levee Green (Chadwick Boseman) is the rebellious trumpeter with big dreams. This quartet offer a glimpse into the challenges of being both black and musicians in the Chicago of the 20’s. The studio is run by Mel Sturdyvant (Jonny Coyne), whose mercenary tactics are slowly revealed. Irvin (Jeremy Shamos) is Ma’s anxious manager.

Ma Rainey (Viola Davis) arrives an hour late, setting off various complications. She is accompanied by her girlfriend, Dussie Mae (Taylour Paige), who has eyes for Levee, as well as her stuttering nephew, Sylvester (Dusan Brown), who she insists introduce the recording of “Black Bottom.”

What ensues is a battle of wills that represent issues of both music and race. While Ma appears to be difficult, it is really a matter of survival. She knows that she is being used by these white men, and they only cater to her as far as their needs. Viola Davis, possibly the finest actor working today, completely loses herself in Ma Rainey’s frustration and triumph. It is a flawless and mesmerizing performance of a woman who understands the nature of an unfair world.  

The film also marked the final performance of Chadwick Boseman, who sadly died of colon cancer at the age of forty-three. His performance is nothing less than brilliant, bouncing between Levee’s energetic and monomaniacal determination to create his own band and his inner demons. These lead to clashes with both Ma and his fellow musicians. His relating of his mother’s rape and his father’s revenge is one of the most chilling and raw moments in this or any film. 

The entire cast deliver dimensional and wholly present performances, easily drawing us into this world where they face both petty and large demands at every turn. Their stories take different shapes, some metaphoric and others brutally and vividly real. There is not a false or wasted moment. It builds to a harrowing climax and an equally brutal and telling coda. 

Ma Rainey’s Black Bottom celebrates the power of the blues, chronicling an important part of African American history. It is a reminder of art and of exploitation, of defiance and disappointment. It is also an exceptional film. Rated R, the film is currently streaming on Netflix.

Photos courtesy of Netflix

Photo from Fathom Events

As if! In celebration of its 25th anniversary, Clueless heads to  the big screen Sunday, Dec. 27 and Monday, Dec. 28. It’s not easy being the most popular and glamorous girl at Beverly Hills High. Especially when you’re the envy of scheming Betties, persistent Barneys, and teachers who go postal when you turn your homework in late! 

Yet somehow 15-year-old Cher (Alicia Silverstone, above) keeps it all together, even finding time for extracurricular projects like finding a love match for her debate class teacher, and giving a dowdy friend a fashion makeover. But Cher’s tidy world starts to unravel with the sudden appearance of two total Baldwins, and Cher’s square but cute “ex-stepbrother” (Paul Rudd). Now Cher is about to learn that when it comes to love, she’s …well, Clueless. 

This special anniversary event includes a bonus featurette about the extraordinary dialogue in the film. Rated PG-13. 

Participating local cinemas include AMC Stony Brook 17 in Stony Brook, Farmingdale Multiplex Cinemas and Island 16 Cinema De Lux in Holtsville. For movie times and to order tickets, visit www.fathomevents.com.

Photo from Huntington Choral Society

In lieu of the Huntington Choral Society Winter Concert and in the hope of a brighter 2021, HCS is pleased to present a short film presentation entitled, A Holiday Gift from Huntington Choral Society viewable from December 23rd on at www.huntingtonchoralsociety.org and on their Facebook page. Visit either, relax, and enjoy their gift of beautiful music.

“HCS has had a productive virtual fall semester on Zoom during which we spent time bolstering sight reading and music theory skills; studying lyrics; rehearsing chorales from Bach’s Christmas Oratorio, Ferko’s Trois Chansons, and Bernstein’s Chichester Psalms; developing our vocal technique; and enjoying well-reputed guest speakers, Dr. Rollo Dilworth and Professor Barbara Fusco-Spera. We look forward to our spring semester, which holds at least some promise for face to face rehearsals,” said Director Dr. Jennifer Scott-Miceli.

by -
0 2355
Center, from left, Ariana Rose and Jo Ellen Pellman in a scene from the film. Photo courtesy of Netflix

Reviewed by Jeffrey Sanzel

In 2018, the musical The Prom made its Broadway debut at the Longacre Theatre.  With music by Matthew Sklar, lyrics by Chad Beguelin, and book by Bob Martin and Beguelin, it dealt with a group of narcissistic Broadway actors who are trying to change their unlikable images. Looking for a cause, they select a lesbian high school student who is denied the right to take her girlfriend to the prom. The quartet of Broadway performers travel to the conservative Edgewater, Indiana, where, in an attempt to help, they wreak havoc. Ultimately, it all works out in the way that musical comedies do.

There was a great deal of feel-good material and a lot of messages about understanding and tolerance in the show. Casey Nicholaw strongly directed the production, if leaning a bit into the over-the-top humor alternating with easy sentimentality. His choreography was engaging and vigorous, often leaning towards the athletic. The original cast was made up of Broadway veterans who brought out the best in the material. For the most part, the reviews were good but it failed to find an audience and closed within the year.

James Corden, Nicole Kidman, Andrew Rannells and Meryl Streep in a scene from the film. Netflix photo

Ryan Murphy, who was one of the Broadway producers, has now directed a film version which has been released on Netflix and is also currently playing in movie theaters. Murphy recruited Martin and Beguelin to write the screenplay with the majority of the score intact. They have opened it up, taking advantage of a range of locations to give it more variety and a more kinetic energy. There are also some good flashbacks that enhance the story as well. Murphy has shown the same care and whimsy here that he did with the recent Netflix miniseries Hollywood, and the result is an entertaining two hours.

Murphy has replaced the entire Broadway company with well-known film and television personalities. So many cinematic stage transfers have been ruined by stunt casting that fails to preserve the integrity of the source material. That said, Murphy has assembled an excellent company who deliver. 

Meryl Streep is delightful as the Broadway diva, Dee Dee Allen. She is outrageous but grounded in her own selective reality and manages to make Dee Dee both insufferable and likable, often simultaneously. Her singing voice is solid, and she manages the big numbers well enough. Andrew Rannells is a younger, edgier take on the Julliard-trained Trent Oliver; he has real musical theatre chops (The Book of Mormon) and a hipper approach to the character.

Keegan-Michael Key evokes the right balance of controlled concern and star-struck fan as the principal who is enamored with Dee Dee. Kerry Washington brings snap and spark to the outraged PTA president who is doing all she can to keep the prom “straight.”  Kevin Chamberlin is charming as the long-suffering agent.

Only Nicole Kidman seems lost as the perpetual chorus girl, Angie Dickinson. Her vocals are adequate but she never finds her way with the character. It is also clear that she is uncomfortable with the Fosse style and it undermines her big number — “Zazz” —  and ultimately the character’s core.

Jo Ellen Pellman has a beautiful voice and winning presence as Emma Nolan, the girl who just wants to go to the prom. She shines through the entire film — one just wishes she wasn’t smiling the entire time; the absence of angst makes the final moments not quite as cathartic. Ariana DeBose as Alyssa, the daughter of the crusading PTA president, ably shows her internal conflict as Emma’s closet girlfriend and delivers in her musical number, “Alyssa Greene.” The ensemble of young singer-dancers handle the big numbers well and have a nice ease about them.

But if the film belonged to any one performer, it would be James Corden as Barry Glickman, Dee Dee’s costar in the failed Eleanor Roosevelt musical that incites the entire plot. He is warm and funny but truly vulnerable. He is completely at home as both a singer and a dancer, making his numbers some of the best moments. In many ways, it becomes just as much his story as Emma’s.

The film has a strong start, moving quickly from place-to-place and song-to-song, everything cast in a musical comedy glow. There are many excellent production numbers that are hilarious — “Changing Lives,” “It’s Not About Me,” and “Love Thy Neighbor” — and just plain joyous —“Tonight Belongs to You.” Murphy wisely retained Nicholaw as choreographer.

It is unfortunate that the second half of the movie sags a bit with dramatic scenes that have been introduced to give both weight and extended background to Barry and Dee Dee. While it gives the two actors an opportunity to emote, the tonal shift and the additional time do nothing to drive the action forward.

These additions necessitated the trimming of several numbers, most notably “The Acceptance Song,” done at a monster truck rally.

This is a minor quibble in an overall enjoyable outing. The Broadway quartet learn and grow, just as we know they would.  Emma and Alyssa celebrate their love with the exuberant “It’s Time to Dance” — as celebratory here as it was on Broadway.

If people take exception to the ease with which minds are changed and bigotry is overcome, it should be reminded that this is the world of fantasy. Just as with his Hollywood, Murphy offers us not necessarily the world we have but perhaps the world we can hope for — and some really terrific production numbers along the way.

Rated PG-13, The Prom is currently playing in local theaters and on Netflix.