It’s funny how life changes. At the time, when I was younger and even more ignorant, I used to say that I didn’t like musicals. It was an instinctive response, I guess, to movies like ‘Flashdance’, ‘Footloose’, ‘Dirty Dancing’ or ‘Breakin’. In the same way that I also said that I did not like westerns either. It was like I say, someone too cute to have any really formed ideas about something. Things you started to know were said to say when you started watching (and enjoying) movies like ‘Unforgiven’, ‘Wyatt Earp’ or ‘Quick and Dead’.
Or in the case of musicals, movies like ‘Moulin Rouge’, ‘Chicago’ or ‘Sweeney Todd’ and classics like ‘West Side Story’, ‘Grease’ or ‘All That Jazz’. However, I calibrated my taste for musicals based on productions such as ‘The Rocky Horror Picture Show’, ‘The apple’, ‘Rogues at full speed’ or ‘The store of horrors’. And what do I mean by calibrating? Well, as it happened to me a couple of weeks ago with ‘Cinderella’, I do not ask them to be necessarily what a good movie is called, but that their songs and / or their musical numbers are cool to me.
And that comes to be the word, something sometimes as unspecific and whimsical as molar. Especially if they don’t have the glamor of ‘Mary Poppins’, the impudence of’ The Great Showman ‘or the eccentricity of’ Repo! The Genetic Opera ‘. Especially if, like ‘Everybody Talks About Jamie’, as a movie, they are so ordinary that the music is what gives them a reason to live; also, of course, to be seen and enjoyed in its fair measure: The one provided by songs and musical numbers that, for the most part, are cool to the extent that they should be cool.
Come on, the same thing that happens with the films “of hosts”: One will be able to advance in between and not stop understanding the film, as is. Because there is not much to understand that is not obvious, as so evident is the final section and the message of ‘Everyone talks about Jamie’, a kind of ‘Billy Elliot’ dressed as a drag queen. It is not exactly a film that is characterized by its subtlety, much less by breaking molds, since under its possible appearance we find a rather traditional story framed in a rather traditional context.
It is not about rewriting the story as in ‘Cinderella’, but about expanding its radius of action: If 20 years ago he was a boy who wanted to be a dancer, now he is a man who wants to be a drag queen. As simple as the film itself, a sobering musical more than correct whose songs and musical numbers rise above the common and ordinary, even the conventional. Almost two pleasant hours of watching and (above all) listening that they comply with the axiom of musical cinema: leaving us with a smile while some of their songs resonate in our heads.
By Juan Pairet Iglesias