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The film's music supervisor, Phil Ramone, made selections that he felt were the best fit for their respective scenes, and composer Giorgio Moroder contributed additional tracks in the process of scoring the film. The nightclub performances by Alex and her co-workers and other set pieces involving training and auditioning provided opportunities to present the songs that would make up the soundtrack album.
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6/10.Flashdance: Original Soundtrack from the Motion Picture is the soundtrack to the 1983 film Flashdance, which tells the story of Alex Owens (played by Jennifer Beals), a welder and exotic dancer who dreams of becoming a professional ballerina. It may not be deep or significant, but it is an enjoyable, well-made piece of popular entertainment.
Its redeeming feature is the zest and energy of its dance sequences, set to some well-chosen music such as Laura Branigan's Gloria or Irene Cara's title song. Yet, despite its faults, I enjoyed this film. I could certainly have done without the tasteless ethnic jokes told by Alex's comedian friend. The other characters are little more than ciphers, with the exception of Hanna, the old lady who acts as Alex's mentor. Her acting is too weak to enable her to carry a film certainly I felt that she would be out of her depth in one that depends more upon plot and less upon song and dance. The acting is undistinguished Jennifer Beals makes an attractive and personable heroine, but it is clear why, despite the success of this film, she did not go on to become a major star. No attempt is made to explore the possible conflict between the demands of her religion and her sexually provocative dancing or her love for a divorcee. Potentially interesting themes are ignored for example, Alex is a practising Catholic, but this seems to be a plot device to enable scenes set in the confessional to be used as soliloquies in which she can air her emotional problems.
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Although the plot is not as non-existent as some reviewers have felt, it nevertheless tends to take second place to the showpiece dance numbers at times, it felt as if I were watching an extended series of pop videos. (Would a ballet school really be prepared to offer a place to a candidate whose dance skills owe more to the disco than to Swan Lake and who seems completely ignorant of balletic idiom?) The film has its weak points. The climax comes with a scene in which she auditions for a place at a prestigious ballet academy and treats the judging committee to a bravura display of breakdancing. The film tells the story of how she achieves that ambition, as well as the story of her romance with a wealthy middle-class divorcee, set against frequent dance sequences as Alex and her ice-skating friend Jeanie go through their paces. She moonlights as a dancer in a local nightclub, but her great ambition in life is to become a ballet dancer. The heroine of Flashdance, Alex, is a young woman who works as a welder and whose main joy in life is dancing. Whereas these American films may not have had the covert (or, in the case of Brassed Off, highly overt) political message of their British counterparts, they nevertheless concentrated on differences in social class far more than Hollywood movies usually do. Such films are frequently described as `quintessentially British' or `something that we can do and Hollywood can't', whereas the truth is that twenty years ago Hollywood was indeed making very similar films, mostly centred upon dancing, such as Saturday Night Fever, Dirty Dancing or Flashdance.
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In recent years there have been a number of British films based on the theme of working-class people who find fulfilment through their cultural activities examples being Educating Rita (the first and most distinguished), Brassed Off, The Full Monty and Billy Elliott.
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