Review: "The Prom" on Netflix
Friday, December 11, 2020 at 2:02PM by Nathaniel R
I first saw The Prom on Broadway during its sort of sleeper success run (I believe it broke even?) and I loved it as much as Principle Hawkins (Keegan Michael-Key) reveals that he loves going to the theater. I relate to Hawkins, okay? And I know what that says about me. Consider if you will, these potentially cringe lyrics about seeking escape through art in "We Look To You"...
We look to you
To take us away
From the soul-crushing jobs
And emasculating pay
When our lives come up short
And our hopes are sad and few
You whisk us off to some place strange and new
In most cases in narrative arts, when "stars" voice anything of the sort, it's a derisive joke showing their out-of-touch egotism. 'They're blessing our pathetic lives with a little glamour? F*** them!' Except, you know, they are actually doing that. They just shouldn't, maybe, point it out to us. It's a tricky balance. And balance is something any production of "The Prom" has to worry about. Balancing while juggling and prancing with limp wrists! More on the limp wrists in a minute, Fosse style and otherwise.
Let's backtrack to a brief bifurcated synopsis. The Prom is about two Broadway headliners, Dee Dee (Meryl Streep) and Barry (James Corden) who have just seen their terrible new musical close on opening night with savage reviews about their narcissism. They decide they need image rehabilitation. What better way to do that than to find a charitable cause to show that they're actually selfless not selfish. The Prom is also about young lesbian Emma (endearing Jo Ann Pellman) who wants to take her girlfriend Alyssa (Ariana DeBose) to the prom (which would then double as a coming out ball for Alyssa since she's in the closet) . When the PTA gets wind of it they shut the prom down rather than allow gay students to participate in this sacredly heteronormative ritual. The leader of the homophobes is (you'll never see this coming by which I mean you will definitely see this coming) is actually Alyssa's mother (Kerry Washington). She doesn't realize how much hurt she's causing under her own roof. The two worlds and plots colliding is where The Prom gets its comedy, its musical numbers, its "unruly" heart, and its purpose.
It's a lot to balance and the balance is off in The Prom on film... or rather Netflix. Consider these lyrics to "It's Not About Me", DeeDee's big entrance number when she arrives in (checks notes) Indiana.
I wanna tell the people of
Whatever this town's called
I know what’s going on here
And frankly, I'm appalled
I read three quarters of a news story
And knew I had to come
And unless I'm doing The Miracle Worker
I’m won't play blind, deaf and dumb
Listen, you bigoted monsters
Just who do you think you are?
Your prejudice and your oppression
Won't get past this Broadway star
Stealing the rights of a girl
Who is an LGBQ-Teen
I've been far too angry to google what those letters mean
One of the surprisingly joyful things about "The Prom" on Broadway was that though the message of love and acceptance for queer people was earnest, it was never played earnestly which is an important distinction. The show was an equal opportunity offender, in a way. I never let you doubt that it was on the side of the queer people but it was also poking more fun at liberal self-righteousness than it actually poked at small town ignorance and bigotry.
The Prom on film, or rather Netflix, can sadly not say the same. Murphy and his team do want you to laugh (and they succeed enough to make this a fun watch) with them but not at them. Unfortunately they're also deeply obsessed with being taken seriously and pulling your heart strings. I lost track of the number of times an underscore so syrupy came on during any "message" scene that the actors were all but drowning in it, particularly James Corden.
"Tonight Belongs to You," is Barry's big number and onstage it's where the fabulously gay Brooks Ashmankas fully earned his Best Actor Tony nomination making the number endearing, wistful, and hilarious in equal parts.
I can tell you're feeling wary
But you can count on uncle Barry
He can turn this butch-y duck into a swan
Your whole look could use a shake-up
You can borrow all my make-up
And the pair of spanks I currently have on
Treat the whole world like your runway
Make it fierce but in a fun way
Try to flip your hair like Cher
And drag queens do
Corden, however, is a complete disaster and not just because he's a straight actor playing GAY, rather than playing Barry. He alternates between amateurishly shallow "sad gay" and offensively broad "flamboyant fairy" types but never finds a character in either let alone a character where the two modes of performance merge into a recognizable human. Barry is a character though, and not just a "character". Brooks found him on Broadway and its easy to imagine other gifted comic actors finding him again on film if they had to recast (hint: they didn't have to but if they had to have a "star" Titus Burgess would have absolutely slayed)
It's not all terrible or unfunny once you get past Corden. Curiously, Andrew Rannells and Nicole Kidman, playing "Angie" and "Trent", appear to be having the most fun and are giving it the most "Zazz" to use Angie's own mantra.
Zazz is style plus confidence
It may seem corny or kitsch
But when scared or on the fence
You’ll find that zazz will soon make fear become your bitch
And if folks say you can't win
What'll stop them in a hurry
Give it some zazz
There’s no contest for a girl who has some zazzmatazz
So call their bluff
And strut your stuff
Like no chick in this hick town has
Instead of giving up
Give it some zazz
Their frothy fun energy possibly stems from the freedom. Neither of them have much to do beyond selling a few one-liners and their respective solo numbers, so it's a stress free gig. Moulin Rouge! aside, Kidman is not born for the musical form. Her voice is thin and she's not a gifted enough dancer to pull off the Fosse gestures of 'Zazz' but she is an actress with inarguable zazzmatazz so she makes this role her bitch anyway. Rannells meanwhile is just very very funny. Which is all that's needed for Trent who went to JUILLIARD.
Curiously, despite Murphy's enormously heavy-handed direction which flattens so much of the potential heart by trying to make it beat too loudly, Pellman and DeBose, emerge unscathed, easily selling a sweet young romance. And their voices are beautiful.
NOT IGNORING STREEP. I know you were beginning to think it.
Dee Dee has two big numbers in the musical and the second "The Lady's Improving" was one of the best on Broadway.
The lady's improving
So don't give up hope
You'll ask, "is she perfect"
My answer is nope!
Of all the parts to recast this was the no-brainer (even though Beth Leavel, the original Dee Dee, is divine!). Though TFE is often on record bemoaning the fact that too many movie musicals think you need "stars" in every role, even if they can't sing, here's the exception that proves the rule. This role does need a star, and preferrably an oversized one so Streep's casting is thus a no-brainer. Not only that but Streep sings as beautifully as any star of Broadway musicals and she's funny and she's a gigantic force of nature. All of which the role requires.
Is it perfect? Nope. But one of Streep's greatest attributes as a screen star is the sheer joy of acting that radiates off of her. This woman loves her job. Pair that with fun material and it's as contagious and catchy as a good earworm showtune.
"One thing's universal
Life's no dress rehearsal
So why not make some waves before it's through
Go big or you've blown it
It's time that you own it
Let's make it clear that
Tonight belongs to you"
Streep takes the 'go big' directive of the show's theme song to heart. There's one moment where she puts her hand to her chest, swooning, that had me in stitches. That go big mantra is employed by roughly half the cast but Murphy can't corral them into the same frequency so tonight The Prom doesn't belong to any one of them, really, or even all of them as an ensemble.
This adaptation of The Prom instead belongs to Principal Hawkins from where we sit. You see he loves the musicals, actresses, corny escapism, and queer people. All of which are arguably prerequisites to loving this particular musical. He's gazing at this movie alongside us with hearts in his eyes. He's having some fun but he's no fool; he absolutely knows when The Prom is full of shit.
"The Prom" on Broadway: A-
The Prom as a movie: C+
The Prom as a fun December stream - make popcorn: B
Reader Comments (64)
Meryl's 21st Oscar nomination?
**22nd ;-)
So Oscar won't touch it them,Meryl's 4th will have to wait,loathing Corden puts me off seeing this film and your review drives that point home.
First off, no the Prom on Broadway definitely did not recoup and was not a success. It ran for only 9 months and made nowhere near the initial 13.5 million investment. The show was horrible and preachy and did nothing to change anyone's mind and the movie is even worse.
Really loved this, but of course I wish I could have seen the original. Streep hasn't been this much fun since Prada, and I hope Pellman can get a Globe nod beside her. I'm always biased when it comes to Kidman, but adored her as well. Key was also wonderfully charming, and I loved his first song too!
Went in expecting much more of a trainwreck, but was pleasantly surprised. I agree Corden was so woefully miscast. Would've loved to see someone like Nathan Lane tackle it. I found the ensemble really enjoyable otherwise, and Meryl is just so effortlessly watchable. The cinematography and editing were so gaudy and distracting though. And the film certainly had less edge than Glee.
I do feel it could be for this current generation of kids what Hairspray (2007) was for young kids, as I was when it came out. A great, light hearted introduction to some serious social issues.
I don't get the Corden hatred; He has an objectively stronger voice and more showmanship than half the actors they regularly cast in musicals. Not to mention being a Tony-winning actor. I'm not saying he's Hugh Jackman but he's not Russell Crowe or Johnny Depp. I don't need to hear Emily Blunt or Helena Bonham Carter sing again in my life.
James Corden...😖 I told you.
Looks like a lock in Costume Design
@Nat. I totally agree with ALL you say in your review
It is the perfect time for this musical to be seen.
how different is the film from the show? that whole barry reunion scene felt very shoehorned in [leaving kerry washington has to speed through a similar one moments later]
I don't know. I'll watch anything with Streep (except IRONWEED). I was here for it until I saw the trailer the other day. (Shudder.)
Keegan is hot!
I actually saw this in the cinema, because i will always prefer a musical with proper sound and on a big screen. I thought it was appallingly lit and filmed and often badly edited. So much garish green and pink lighting that is mispurposed. So much cutting away from what we want to see. Sure, Nicole isn't a Fosse dancer but they cut too much to really notice. And James Corden is bad in ways your mention and then others. But I greatly enjoyed watching Nicole, Keegan, DuBose and Streep and several songs really kick. I can't imagine them nominating Streep, but they've done so for less.
Ryan Murphy, Michael Bay, Uwe Boll, Tom Hooper, Jason Friedberg/Aaron Seltzer, Dinseh D'Souza... what do they all have in common?
They all fucking suck and deserve to burn in Hell.
@thevoid99 A TEENSY bit hyperbolic, aren't we?
This looks like all the worst parts about Ryan Murphy and Hashtag Gay that currently exist in American culture.
Easy pass. If I want to watch Kidman or Streep sing and dance, I can just pop Moulin Rouge! or Death Becomes Her, respectively, and be perfectly content.
I like Streep, but I find the actress she was even in Death Becomes Her (so underrated, easily in my Top 10 of things she's done) so much stronger and less ironic than her as an actress now. Can't blame her, though. She's been at it for a long, long time now.
Saw this tonight. The best parts are easily Streep and Keegan. They have good actorly chemistry. I have to agree that Kidman is wasted and Rannell grates on my nerves (so much more than Corden). I also think that most of the jokes directed to small town life were offensive.
Oh, the vulgarity, the bad taste! Anyway, Imelda Staunton's Gypsy is available for free on YouTube for the next 72 hours. Enjoy!
The only thing worse than James Corden in this movie is the outrageously terrible costumes.
The opening scene in the bar with everyone except Andrew Rannels in their shiny lame was so pitifully awful. And Nicole's end of movie prom dress was the worst thing I've ever seen her have to wear! Even worse than Tom Cruise.
I quite enjoyed it. Not perfect, and needed to be like 90 mins long, but it was great for what it was. And I loved the costumes.
Keegan-Michael Key is the best thing about the entire movie. Twenty minute in my first thought was that everyone was giving precisely the performance I assumed they would for better or worse. All of the musical numbers are far too edited, and the swirly camera movements almost made me dizzy. In addition, some of the transitions from scene to song were jarringly abrupt. All things considered, the film did entertain me as someone who did not see the stage production.
It was cringeworthy bad ... and it felt like it was three hours long.
Ugh. Didn’t see it on Broadway (saved some $$ there, I think) and only powered through this film adaptation tonight because I’m a Streep completist. Gawd, tonally all over the place and dragged in the middle and end. SO MUCH TALKING. Kept thinking I would rather watch Streep singing and drinking with her pals, Baranski, Walters, and MacDonald. And the cameo/stunt casting of ..... ??? Not up for an Into the Woods reunion.
Glad the cast had fun cuz I sure didn’t. Well, I did enjoy hate-watching with my musical theater loving kid. Fingers crossed for Everybody’s Talking About Jamie, the next one out.
Just finished watching it, and... what's with the James Corden hate? He was fine! Yes, he does go over-the-top with the gay stereotypes, and his American accent slips here and there, but to me, his Barry is a man who surrounded himself in the superficial pleasures and pressures of stardom so he doesn't have to deal with the fact that he was denied love from the people who were supposed to love him forever. I frankly felt for him in that scene in the hotel room when Dee Dee urges Barry to call his parents and breaks down. It reminded me of why I found him so appealing in Into the Woods. James Corden is at his best when he's vulnerable.
Regarding the rest of the film, I'm calling it my new guilty pleasure. Yes, the writing and directing are both heavy-handed and yes, it's shot like it's an overlong episode of Glee or High School Musical, but the cast sells it, and several of the musical numbers are impressive. I wouldn't nominate this for Oscars, but I may watch now and again if I need a smile.
Streep was SO much fun. I love that she did this role. Michael-Key is amazing. Real fun to see Kidman/Rannells. Pellman/DeBose are wholly charming. The less said about Corden the better. Brooks gave such a big and heartfelt performance on Broadway that Corden couldn't match and they shouldn't have asked him to. OH WELL.
Anyways, I liked more than love the Broadway show and this movie was... fine. There's a lot of bad choices, but there's enough fun/charm in the songs and actors that it was a good time spent.
Think the movie was a joy and much needed to end 2020 with. And how great that a movie about acceptance is going to be watched by so many people (so many times). What a wonderful week for Streep fans!! 71 and still killing it. And I think with this and LTAT, she is in the awards conversation this year more than people thought.
This was just BAD, Nicole was given nothing to do (such a waste) , Corden is painful to watch and Meryl managed to do something even worse than Mamma Mia! It's bad campy, corny and overlong. On a brighter side:: Rannells is effective and Pellman ,adorable.
Meryl is absolutely wonderful here and deserves the 22nd nomination.
Streep was great, Rannells was hilarious
Kidman had fun with the material she had but boy was she miscast, in most scenes she seemed awkward standing in the background especially because she’s six feet tall and gorgeous and totally a star so how can she be sold as a supportive chorus girl.
I didnt think Corden was that bad but the moment I read someone say Titus couldve done this so much better, I couldn’t see past that so I would say miscast.
Perlman was great!
I’d say the movie suffers from pacing and questionable casting choices
I was thinking the obvious and clearly better casting was Nathan Lane but of course it should have been Titus Burgess!!!
it's funny that people was expecting THIS to be Streep's next nomination, when she's in Let them all talk, by Steven Soderbergh.. I guess HBO isn't interested in the Oscar game, at all?
I expected Keegan's character to come out but he didn't.
Awful
Meryl Streep is ruining her legacy with a string of awful performances in very bad for movies for the masses. I blame her fans who can tell the difference.
I was so prepared to not like this, but was pleasantly surprised. Was very worried about Streep, with dyed hair and singing and dancing, but she was fine. James Corden works my nerves whenever I see him, but he was kind of OK. Nicole Kidman never really fits her part, but at least she is trying. Keegan Michael Key is a delight.
The plot, songs, etc, are hammy at times and actually very good at others. Andrew Rannells has one of the best numbers; another joy to discover.
Overall I'd give it a B+ on a scale of 1 to 10.
Meryl just gave two phenomenal performances in "The Prom" and "Let Them All Talk" ! It's really, once again, her year.
"I actually saw this in the cinema, because i will always prefer a musical with proper sound and on a big screen."
Lucky that your country has its shit together (unlike here in US), so you can have this cinematic luxury today and rub it in our faces.
As for the film, I loved it. Garish to no end and a "Glee" longform episode with better production values, but I was into it. I'm a Murphy apologist at heart, I guess. I even liked "Hollywood"! (I SAID IT!) Banish Corden forever, check. Was Nathan Lane previously booked? Also totally onboard with Streep being nodded for this. She really was having a ball here, which was infectious (no pandemic pun intended lol). Kidman was wasted. Score was kinda lacking, but I felt like I could overlook some of that with the ensemble's charisma and drive.
Nice message and exactly what I needed to see right now.
Halfway through it... ugh, they pumped up queerness to 11, in comparison, RuPaul's drag race seems like a nazi rally?
Corden was better in Cats (which is a more daring, relevant film, overall)... Streep and Kidman well, they are virtually always good to great, so this is no exception. Murphy is NOT a good director, or at least a musical director... there are moments that are cringe-worthy...
It will be nominated probably to the Globes for Picture, and noms as leads for Streep, Kidman and Corden (ugh!), most likely, however I do not think it deserves to, or stands a chance of winning any of them...Let's see the second half.
This movie - so far - just has to make people realize how difficult it was to pull off "Hairspray", and what a masterpiece that was.
I forgot, for the same purpouse that one of the first songs - "It's not about me" - just made me have nostalgia of the opening act in "Popstar: Never stop never stopping" with "I'm humble" - THAT was an opener!
MJC : Please, let me out of this fu*** cr***, ok?
A joke a friend told me and I'll share with you:
- What's worse than Hillbilly Elegy?
- ...
- The Prom.
- Why??!
😘
- Because James Corden is in the cast.
No film is worse that Hillbilly Elegy, Feline Justice.
Here she is, boys! This is a musical - https://www.youtube.com/watch?v=s_-d3yrQoEA
I should have known better than to expect anything but toxicity in the comments haha. I swear, the comments section of this blog keeps getting snarkier and more bitter every passing day.
It really has become toxic, Ron. Full of snarky remarks and condemnations.
Streep is full of life here and clearly loves what she gets to do. Her joy is infectious, and every time she’s on the screen it’s great fun. She and Keegan-Key are also fun together.
Overall, Murphy is just not a great director and while he gets some things right (the teen stuff and Meryl works well), he misses opportunities to push this film from being fun and watchable to being fun, unmissable, and great. Case in point: Nicole. There’s something great about her as an aging chorus girl, but he misses the comedy of how much of gazelle she is and the editing really fails her big number. She’s doing good comedic work, but he doesn’t push or film her in the way she needs. The same goes for Corden’s arc, which is emotionally hollow.
The colors and costumes, however, are great! I hope it gets some notices this season. It’s easy to see this being a hit/getting some social media life between its core audiences: teens and musical theater lovers and Meryl loves (older woman and gays).
What's snarky or bitter about not liking dreck and choosing to condemn it? Haha!
I kid, I kid... Sort of.
People still spent money to make this, and that will always sting. But hey, if it keeps the popcorn flowin', we'll always be able to choose another screen to watch. :)
I love this movie, and think it's the best thing Ryan Murphy has ever done. Streep is fantastic -- she gives a great musical comedy performance. I didn't mind Corden, because he was hysterical, tried to be authentic, and is also a genuine musical comedy star. The two young leads were pleasant and Andrew Rannells also made me laugh. Nicole is maybe not so great for a musical, but I also liked her character. It's a very fun movie and I love the look of it. But it's really a great achievement for Ryan Murphy and company.
Interesting trivia question: What’s the greatest number of times two Best Actress winners have worked together? Nicole and Meryl x3 has got to be close to the record.