Hired by Tess as a waitress at the Lounge, Ali escapes a hollow past and quickly falls in love with the art of burlesque. Backed by newfound friends amongst the theater's crew, she manages to fulfill her dreams of being on stage herself. Things take a dramatic turn though when Ali's big voice makes her become the main attraction of the revue. Drama Music Musical Romance. Rated PG for sexual content including several suggestive dance routines, partial nudity, language and some thematic material.
Did you know Edit. Trivia The photo of seven-year-old Ali with her mother is actually a photo of a much younger Christina Aguilera with her real-life mother, Shelly Kearns. Goofs You can hear feedback when Ali is onstage and Nikki sabotages the mixing console.
You can not create feedback by disconnecting the inputs. Feedback is usually caused by microphones, and since the dancers were supposed to be lip-syncing at this point, the microphones on stage would not be live to create feedback anyway.
Quotes Sean : [from trailer] So, is Ali short for anything? Crazy credits The credits play over a background of the stage set from the final scene "Show Me How to Burlesque" dance number. Connections Edited into 5 Second Movies: Burlesque User reviews Review.
Top review. Better than expected. OK is impossible not to compare this film to Chicago or Nine. Nearly as good as Chicago in my opinion, way better than the disappointing Nine Not an epic musical but the music is great for 'burlesque' mood Christina is way better than expected. FAQ 1.
How many songs are left out of the soundtrack? Details Edit. It was brilliant, then it was like, no, this is Tess' club, back to zero! But I don't have one number in that movie that I wish was a different number. I had six cameras set up on a gigantic soundstage with a massive crew, and a zillion dancers around Cher that she had never worked with….
I said, "Ok, let's see it! I started to sweat and panic. I thought I was going to fail at capturing this opening number for Cher. Anyway, we worked it out and I shot the number in what turned out to be a very long day. At lunch, I went to Cher's trailer to say hi and check in. I was thinking, "Ok, this is surreal. I'm in Cher's trailer dressing room, just hanging out and chatting.
Just us. FAYE: When Cher started working on that, she wanted to work at her house with her person, meaning one of her dancers coming to our rehearsals and bringing the work back to her. I was vocal about saying this isn't the best version of how this works…. When she came to set, we needed to have a melting time to coalesce the whole thing into what it ultimately became. The audience loves it. It was the most challenging to everybody.
That was one of the things where Steve rolled up his sleeves and got in there for two or three days of [angles]. If you look at that number, the amount of coverage that he was able to get, when we took it into the cutting room, it gave him so much to work with. It was a very time-consuming number, but well worth it! Then there are the custom shoes — and the blisters One of Christina's costumes was made completely of pearls wired together.
The costumes for the film's finale were made from a variety of chains I bought at hardware stores. These were extremely challenging to produce, with a very effective result, if I do say so myself! FAYE: The dancers were exhausted, the costumes were gorgeous, but I think some of the girls got scratches on their underarms from the jewels!
In my experience of meeting and working with some of the greatest legends, the best ones usually are that way. They look out for you in a real way, and it was an honor to work alongside Cher. She gave me some good advice, shared some personal insight and stories on love, and also encouragement along the way when I needed to hear it!
There were a few scenes we shared where I learned from her that being a supportive costar really helps to create something special, and motivating each other is what makes for a great outcome. It's important to have a communication and a special understanding of each other. It was all very spontaneous. It reminded me of when I was a young girl and my mom and all her friends would put on makeup together. The film originally had a different ending — a nod to the Julia Roberts classic Pretty Woman — that Antin retooled.
I hated it. I didn't like the way it was written, and I didn't like the set. Honestly, I didn't do a very good job. It was Pretty Woman on a fire escape. We tested it with an audience, and everyone agreed… reshoot it! It was Jack and Ali saying goodbye, and then he gets into a taxi to go to the airport to go somewhere.
I can't even remember where. Ali runs out onto the fire escape and calls his name, and he jumps out of the taxi and climbs the fire escape to her, and they have this big, romantic kiss. One thing Antin initially wanted to remove from the film, however, has since grown into one of its most iconic moments: Cher's solo number, "You Haven't Seen the Last of Me," which sees her singing a meta tune penned by longtime collaborator Diane Warren about resilience. In her Best Original Song acceptance speech at the Golden Globes, Warren thanked Cher for being an "eternal badass" who fought "to get the song in the movie and keep the song in the movie," and Cher even released it as her first solo single since 's "Love One Another.
I got really inspired…. She's not a quitter. I rolled up my sleeves and wrote something really great. I wanted to write Cher's "My Way. She makes a joke herself that, at the end of the world, it'll be cockroaches and Cher.
But, I think she'll outlive the cockroaches. That's what I was aiming for. I had everyone that I knew calling [Steve].
I'd basically given up, and I ended up going out to dinner the next week, where I ran into Loree Rodkin, Cher's best friend. I played her the song, because what did I have to lose?
She was like, "This is so great! I was like, "No, tell her it's a new fin' song! I gave her the song thinking nothing was going to happen. A couple of weeks later I heard from Cher's manager, who loved the song, and she ended up recording it.
I don't think Steven even wanted it then! But it was the right song for her and the movie. It wasn't about Cher's performance. Her performance was good and she looked great. The song just didn't belong in the movie. I didn't think it was right the first time Diane played it for me.
It sounded like an '80s power ballad, which I love, but it seemed incongruous in the movie. Perhaps if it were rewritten and interpolated into something that belonged in our world, it would've worked better.
It did, however, win a Golden Globe, so perhaps I was wrong! WARREN: At one point they were saying [Steven] wanted to test the movie without the song in it, and I think Cher was like, if you even test the movie without the song in, I will do no press!
She really had my back on that song. She knew what it was, and Cher doesn't always know what the right song is CHER: I think everyone can relate to the message of that song.
At some point in everyone's life, you feel that need to remind the world who you are. After filming wrapped in early , industry publications reported on-set tensions between Culpepper and Antin, as the couple allegedly clashed during production.
Buzz snowballed ahead of the film's Nov. I got some cameras and shot the show over a few nights and edited together a little movie. A few years later Antin sent her the script for the movie. Antin wanted a big, familiar face for the role of Tess, and Antin had considered Queen Latifah or Michelle Pfeiffer for the role of the club owner Tess.
Cher was reportedly at a soundstage recording for Zootopia and when Culpepper found out she was there, he and Antin camped outside for quite a while, waiting for her exit, and eventually introduced themselves. He revealed that he wanted Cher to wear black in the film but Cher bought her own styling prowess on set. Jack denies this, and while trying to fix things, he asks Ali to leave.
Feeling heartbroken and betrayed, Ali runs to Sean for support, who prompts her to go with Marcus after his phone call. While spending time with Marcus, Ali finds out about " air rights ", which refers to the empty space above a building and what can be done with it.
Ali breaks things off with Marcus after she sees his plans to build a skyscraper on the property the club is on. Ali tells Tess, and together they inform the owner of the new million-dollar condos across the street; fearing the loss of business that would result from the obstruction of his prospective tenants' view, he purchases the air rights to the club's property.
The resulting money is enough for Tess to buy out Vince's share, pay off the bank, and re-fashion the club to her own vision. She also makes up with Nikki and rehires her at the club. In the end Ali, having reunited with Jack and earned Nikki's respect, performs "Show Me How You Burlesque" with all of the dancers, a song which Jack wrote and finally finished.
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