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【Burlesque】'Burlesque' has become a box office surprise 'Burlesque' has become a box office surprise by James Sanford It’s not particularly shocking to see “Harry Potter and the Deathly Hallows, Part 1” and Disney’s “Tangled” slugging it out for the dominant position atop the box office rankings. But what’s in the No. 3 position is something of a surprise: It’s “Burlesque,” the Cher and Christina Aguilera musical that has been scalded by most critics and embraced by many audiences, taking in $30 million in its first two weeks. That’s more than some industry sages were expecting “Burlesque” to make in its entire run. Consider that Cher hasn’t graced a movie since 2003 and Aguilera, once a sure thing on the pop charts, has gotten more publicity for her divorce than she has for her recent “Bionic” CD. Plus, even in the best of times, musicals have a spotty track record at the cineplex: Even such Broadway blockbusters as “Rent” and “The Producers” proved to be high-profile non-starters on the big screen. But “Burlesque” writer and director Steve Antin has concocted a film that somehow works, at least as far as ticket-buyers are concerned. “Burlesque” doesn’t set out to wow anyone with its originality; instead, it cobbles together a glittery collage of bits and pieces of other movies, almost like one of those “That’s Entertainment” compilations from the mid-1970s. Antin shows us his game plan right off the bat as Aguilera’s character, a wide-eyed Iowa gal named Ali, wanders into Burlesque, the Sunset Strip club operated by tough-as-nails torch singer Tess (Cher). As Ali gazes in awe at a couple of the resident showgirls (Kristen Bell and Julianne Hough) shimmying their way through “Diamonds Are a Girl’s Best Friend,” the ingénue suddenly has a vivid vision of herself up there on the stage, belting out the tune and winning over the crowd. Let’s try to break this sequence down. The number Hough and Bell are performing is clearly a tribute to Marilyn Monroe and Jane Russell’s version of “Diamonds” in “Gentlemen Prefer Blondes.” When Aguilera takes over, Antin stages the song so that it looks like an homage to Nicole Kidman’s performance of it in “Moulin Rouge.” On top of that, the whole idea of the wannabe star who projects herself into the spotlight is a not-so-subtle reference to the opening of the 2002 film version of “Chicago,” in which Renee Zellweger’s Roxie Hart imagines herself taking the place of Velma Kelly (Catherine Zeta Jones) midway through “All That Jazz.” If you want to keep track of the rest of the references strewn throughout “Burlesque,” you’d better get yourself a scorecard. Antin has seen a lot of movies, and he expects his audience has as well. Intriguingly, “Burlesque” doesn’t rip off images and ideas as much as it appropriates them. Antin knows many viewers will immediately identify his sources and he doesn’t make any apologies: If you get it, you get it, and if you don’t, hopefully you’ll go along for the ride. Before its release, “Burlesque” was expected to something along the lines of director Paul Verhoeven’s notorious “Showgirls” or Mariah Carey’s diva disaster “Glitter.” It’s not. The movie is smarter than either of those misbegotten projects because it never takes itself seriously or pretends to be “good,” in the traditional sense. It throws in enough outrageously overripe lines to keep the crowds chuckling — as when Tess bellows at an alcoholic dancer, “You’re throwing up everything but your memories!” — but it balances out the campiness with some genuinely strong production numbers. While Aguilera is no screen scorcher as an actress, she knows how to serve up a sultry song or two, and Cher (who has lost none of her signature sassiness and prickly charm) gives Aguilera a run for her money with her delivery of “Welcome to Burlesque” and especially the brazen ballad “You Haven’t Seen the Last of Me,” which she rips into as if she’s been waiting to sing it her entire life. “Burlesque” is nobody’s idea of a musical masterpiece, but it’s hard to argue it doesn’t deliver exactly what it promises: plenty of skin, a strong dose of razzle-dazzle, a few easy laughs and a pair of veteran songstresses doing what they do best. As Cher wryly sings in her opening tune, “It’s not the end of days — it’s just the bump and grind.” Burlesque目前表现亮眼,轻轻地扇了评论媒体一巴掌。 电影未上映时,评论媒体大多预测Burlesque的最终票房将在2000万以下。
【Burlesque】MTV出CA表演评论囖,great! Before she even took the stage at the American Music Awards on Sunday night (November 21), Christina Aguilera had already watched a series of over-the-top performances from show-opener Rihanna, an uncharacteristically sedate Miley Cyrus, the always outrageous Katy Perry and a piano-tinkling, snow-shower summoning Taylor Swift. In other words, she saw the future, and it was a cornucopia of female stars who have taken cues from her career -- and she made sure to show them that she's still got a few tricks up her sleeve. Preparing to make her big-screen debut alongside Cher in the upcoming "Burlesque," as promised, Aguilera gave a sneak peek at what we can expect in theaters. "It's going to be fantastic," she told MTV News. "And it will give you a fitting little look inside the movie." Seated in a chair with her back to the audience and wearing a black spangly bodysuit, knee-high boots and a bowler, Aguilera snapped her fingers and leaned into the jazzy, skittery rhythms of the new tune "Express (Burlesque)." As the camera pulled out, it revealed a set made up to mimic the backstage at a burlesque club, with Aguilera surrounded by a squadron of equally scantily clad dancers. She flashed back to the "Dirrty"-era Xtina, straddling and shimmying on the chair, then busting into the song's uptempo chorus and showing off the throaty pipes that made her a star. Shaking her hair along with her lingerie-clad dancers, the singer was clearly back in her element, mixing club beats with a throwback, "Free Your Mind"-style R&B vibe and strutting across the stage confidently with her patented growly sass intact. Even after a career spent in the spotlight as a child star on the "Mickey Mouse Club" and a pop icon since her late teens, Aguilera said the difficulty of trying to reproduce the dancing in the film for the AMAs took a toll on her. "It will be another very new challenge for me," Aguilera admitted beforehand. "My legs have been incredibly sore as I stepped into the role of Ali for this." In the film, Aguilera plays a small-town girl with big dreams who stumbles on a burlesque club owned by the feisty Tess (Cher). Aguilera added that, while relearning the dance routines was grueling, the choreography is amazing. "You're going to get quite the show," she promised. "Quite the spectacle." While Aguilera is new to the world of acting, Cher told MTV News that the pop star can dish it out with the best of them. "The scenes that she and I had together, I really enjoyed, and I really believe that she's got definite chops," she said. "We worked well together. I enjoyed all of it, and she was toe-to-toe with me the whole time."
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