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Flashdance (Bilingual)

4.3 out of 5 stars 57 customer reviews

Price: CDN$ 41.15
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Product Details

  • Actors: Jennifer Beals, Michael Nouri, Lilia Skala, Sunny Johnson, Kyle T. Heffner
  • Directors: Adrian Lyne
  • Writers: Joe Eszterhas, Thomas Hedley Jr.
  • Producers: Don Simpson, Jerry Bruckheimer, Jon Peters, Lynda Obst, Peter Guber
  • Format: AC-3, Color, Dolby, Dubbed, DVD-Video, Special Edition, Subtitled, Widescreen, NTSC
  • Language: English
  • Subtitles: English
  • Dubbed: French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Number of discs: 2
  • MPAA Rating: R
  • Studio: Paramount
  • Release Date: Feb. 3 2009
  • Run Time: 95 minutes
  • Average Customer Review: 4.3 out of 5 stars 57 customer reviews
  • ASIN: B001LL9YN6
  • Amazon Bestsellers Rank: #106,563 in DVD (See Top 100 in DVD)
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Product Description

That Oscar-winning title song buzzes in your ears long after the movie has stopped. The attraction here is youthful spirit and a pulsating score, because the weak story is merely a conduit for the song-and-dance numbers. The plot is every young woman's daydream come true. Jennifer Beals holds down a macho job as a welder by day, but performs erotic dance numbers in a club at night. It's not a strip club, so her morality remains intact. She dates her wealthy boss (Michael Nouri) and practices hard for the day she can audition for the upscale, local dance school, even though she has no formal training. It is malarkey, of course, unless you view this as total romantic fantasy. It works because you are carried along by the sheer force of the energetic, boisterous, MTV-style imagery by director Adrian Lyne. Beals is a plus as the stubborn, pouty, somewhat eccentric young woman made all the more interesting for her driving ambition. In the end, she is aided by her Prince Charming, who arrives bearing favors. Mind you, this is not the same as a rescue, as Beals is one rather tough damsel who does just fine on her own. --Rochelle O'Gorman --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Top Customer Reviews

Format: Blu-ray Verified Purchase

Flashdance arrives on blu ray with MPEG-4 AVC @ 26 MBPS 1080p 1.78: 1 encode. Continuing the theme of contrasts, director Adrian Lyne and cinematographer Don Peterman shot a movie about artistic aspiration in the gritty urban style pioneered by Lyne's countryman Alan Parker for Fame (1980). Lyne then softened the imagery by dispersing smoke into the air in almost every shot such that, according to editor Bud Smith, there were always a few takes that couldn't be used because the actors were obscured. (Midway through production, the studio panicked and ordered that no more smoke be used, and Lyne posted an assistant to watch for the approach of any studio people, so that the smoke machine could be hidden before they arrived.) The result is an often soft, delicately coloured image of a type that has gone almost entirely out of fashion in today's world of digital photography and post-production. The grain and texture of the imagery have been retained without diminishment. Blacks are deep and accurate, and shadow detail is properly rendered in places where you're supposed to see it. Minutia of hair, faces, costumes and the rusting Pittsburgh cityscape are readily discernible. Lyne and Peterman carefully designed Flashdance for visual contrast between the muted everyday world and the garishly "hyper-real" stage show at Mawby's, with its intense colours and bright lights. This contrasts with soft image was faithfully brought out with this encode, thanks to restraint in excessive artificial sharpening and noise reduction. (4.5/5)


Flashdance arrives on blu ray with DTS-HD 5.1 Master Audio lossless track. The chief beneficiary of the lossless multi-channel treatment is the historic soundtrack.
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I think I've seen "Flashdance" at least 20 times to date, considering I saw it in the theaters dozens of times when it came out in '83. I watched it again recently and I never seem to tire of it. I guess by now it holds a special place in my heart, a sort of sentimental movie that brings me back to my younger years. I can practically recite the whole movie. The music is fantastic of course. My favourite scenes are when Alex and her boss are being romantic and the song "Lady" is playing, and also when Alex is riding her bike home on a rainy night and the boss is following her home. Talk about romantic. The dancing in the movie is also fabulous. I liked all the numbers they did at the bar, Tina Tech rocked the house!!! I also like the fashion in "Flashdance". It started alot of trends, sort of that nu-wave grunge thing. Jennifer Beals did a fantastic job in this film, and so did the rest of the cast. Flashdance still rocks so get out that old cut off sweater, put on a headband and watch the coolest dance movie of all time.
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I was 15 when this movie came out, and it was the catalyst for a cultural revolution. It completely changed the music and fashions of the times and truly defined the 80's. During the summer it was released (summer of '83), you couldn't listen to the radio for more than an hour without hearing "Maniac" or the Flashdance theme song at least four times. All the girls, myself included, emulated Jennifer Beals's style of dress in the movie: cut-up sweatshirt, tight mini skirts, high stiletto heels. This movie cause an absolute furor!
You cannot watch this movie and not want to dance! I should also mention that it caused a huge fitness craze, with leg-warmer-clad women flocking to the gyms and the aerobics studios in droves. I suspect it's what encouraged Jane Fonda to churn out all those aerobics videos in the 80's.
As much as I adore this movie, it bothers me in the fact that it holds an ambivalent attitude toward women. On one hand, it empowers women, as evidenced by Alex Owens's (Jennifer Beals) ambition, drive, and independence. But on the other, it exploits them: Many of the men view women as nothing more than sex objects. The saddest part comes when Alex's ice-skater friend Jeannie loses all faith in herself after falling during a crucial competition and resorts to working at the local strip club.
Its treatment of men is none too just, either. It sends out the message that wimpy but good-hearted men like Richie Blazik, the cook-cum-stand-up comedian, will always come in last, and sleazeballs like strip-club proprietor Johnny C. always succeed in their evil ways without retribution. To wit: his goon busted Richie in the nose, and it was he, Johnny C., who wheedled Jeannie into stripping at the club. He even ends up as her man! Go figure!
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This movie has some good music and dancing, in a sappy plot. But the music and dancing are not integral to the plot development; they do not carry the film in the way dancing carries "Dirty Dancing" or "The Turning Point" (both of which have better dancing, by the way.)
But it's one of my favorite movies. Why? The director, Adrian Lyne, got his experience directing TV commercials, where the entire message has to be conveyed in 60 seconds, and in Flashdance every moment is contributing something. The key is the cinematography. Leonard Maltin calls Lyne a "visual stylist", and he is, but he's more. He takes Roman Polanski's cinematographic innovations and pushes them to new limits; the camera tells the story.
When you watch "Flashdance", watch how light and camera angle are used. Light: Pittsburgh light, hazy, smoky, dull, reflecting off puddles, blazing from lamps, dim, bright, strobe, whatever; lighting carries the mood of each scene. As for camera angle, in most movies we are observers, outside the movie, watching the actors. In some of "Flashdance" that is also true, but then in many places the camera angle shifts so we are inside the movie, seeing what one of the actors, or several of the actors, see at that moment. It just pulls you in. If you're not familiar with the film, the first time you watch it wait for the final "audition" scene, and watch how the camera is first an observer, before the dancer enters the audition room, then sees from the dancer's view as the audition begins, and then shifts to show us what the judges see, as the dancing becomes compelling. I don't know about you, but this grabs me and pulls me in; I could watch that scene five times running. And there are many other scenes in which camera angle is used similarly but not quite as obviously. I give this movie four stars; I would give it five if the music and dancing were as well integrated with the plot as in some other movies.
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