first saw CAMP at the Film Society of Lincoln Center's annual New Directors/New Films series in the spring of 2003. The audience responded to the film with such gleeful laughter and riotous applause throughout the film that one couldn't help walk away from the experience entertained. Even watching it alone in the comfort of my own home this past Saturday on Reel 13, the movie managed to illicit consistent smiles. In spite of its contrivances and amateurishness, CAMP remains an extremely pleasant experience.
CAMP is less a story about teens coming-of-age and coming to terms with their extreme talent and how that can make them outcasts in the world of high school than it is a paean to musical theater, though not so much in the general sense. The film eschews more classical musical theater in favor of the genre's more recent history – 60's and 70's fare like "Company", "Promises, Promises", et al. The film actually seems to prioritize the musical numbers over the character development, especially given that the cast of kids are more singers than they are actors. Only Anna Kendrick in a supporting role is able to accomplish both deftly, creating an extremely memorable character and also belting out one of the highlight songs (Fittingly, she is the only one of the cast members to have had any sort of movie career post-CAMP, earning a Spirit Award nomination last year for her work in the high-school debating comedy ROCKET SCIENCE). In CAMP, one seems to look forward to the musical numbers, more so than in most musicals, as the scenes and story don't have nearly as much to offer.
This is not really a criticism because the film really doesn't make you wait long in between numbers. It moves crisply from song to song, usually with only a brief character scene or two in between. Somewhere along the line, actor-turned-director Todd Graff wisely recognized what the strength of the film was and shifted gears towards it. CAMP may not be deep, but it is a helluva lot of fun, offering magic for anyone who's ever been an artist and possibly even for everyone else too.
For more on this film or any other Reel 13 film, check out their website at www.reel13.org.
CAMP is less a story about teens coming-of-age and coming to terms with their extreme talent and how that can make them outcasts in the world of high school than it is a paean to musical theater, though not so much in the general sense. The film eschews more classical musical theater in favor of the genre's more recent history – 60's and 70's fare like "Company", "Promises, Promises", et al. The film actually seems to prioritize the musical numbers over the character development, especially given that the cast of kids are more singers than they are actors. Only Anna Kendrick in a supporting role is able to accomplish both deftly, creating an extremely memorable character and also belting out one of the highlight songs (Fittingly, she is the only one of the cast members to have had any sort of movie career post-CAMP, earning a Spirit Award nomination last year for her work in the high-school debating comedy ROCKET SCIENCE). In CAMP, one seems to look forward to the musical numbers, more so than in most musicals, as the scenes and story don't have nearly as much to offer.
This is not really a criticism because the film really doesn't make you wait long in between numbers. It moves crisply from song to song, usually with only a brief character scene or two in between. Somewhere along the line, actor-turned-director Todd Graff wisely recognized what the strength of the film was and shifted gears towards it. CAMP may not be deep, but it is a helluva lot of fun, offering magic for anyone who's ever been an artist and possibly even for everyone else too.
For more on this film or any other Reel 13 film, check out their website at www.reel13.org.