KINKY BOOTS has become a Broadway sensation in 2013 with music and lyrics from Cyndi Lauper, while this original film is equally brilliant with a broad message of self-affirmation. Directed by Julian Jarrold (BECOMING JANE 2007, 7/10), it is another old-fashioned uplifting adult fairytale from UK, such as CALENDAR GIRLS (2003, 7/10), and THE FULL MONTY (1997), both exploit on the prudish nudity, but this film, based on a true event, is about a shoe factory owner Charlie (Edgerton) saves his family business by finding a niche market to design kinky boots for drag queens, with the help of a black transvestite Lola (Ejiofor), the story itself sounds outlandish, but the film is a thorough bliss to watch.
Chiwetel Ejiofor is my current BEST ACTOR winner in 2013 for 12 YEARS A SLAVE (2013, 9/10), and this is another spectacular performance in his résumé, his boxer physique and deep voice do not deter his transformation into Lola, a flamboyant cabaret singer, covered with heavy make-up and kitschy costume, but Ejiofor siphons Lola's vulnerability and sensitivity perfectly on the screen out of her ostentatious stage flair, which gives enormous warmth to keep the film afloat, in spite of many standard clichés about provincial prejudice towards the trans-gender minority and a bitch-faced girlfriend who will ultimately cheat on our protagonist.
Edgerton's Charlie, is a traditional guy, craves for a normal family life and worries about that he could not live up to his father's expectation, his self-affirmation remedy is inspired by Lola but the film doesn't shy away from his own bias as well although the over-heightened drama between him and Lola does merely serve as a plot device rather than a sincere catharsis.
Nick Frost and Linda Bassett play two among several working-class laborers in the factory, the former is basically for comic relief and the latter is devised to express her feistiness occasionally. Potts' Lauren is the good gal always standing behind the man's back and Rooper's Nicola is the unsupportive girlfriend with a uncomely bob hairdo.
Narrative aside, the musical rendition from Lola steals the limelight every time, Ejiofor's voice is a bit too blunt and in lack of variety, but his diva aura is second to none.
Cleverly and intentionally, Jarrold blurs the line of Lola's sexuality, we are in the era of non- discrimination of one's sexuality, so it doesn't matter in any rate, the film is a fairly accomplished musical, balanced with both drama and comedy elements, it is also a small picture with a big heart, terrifically accessible to audience, neither cringing-worthy nor patronizing, this alone, is worth the good words-of-mouth and a two-thumbs-up.
Chiwetel Ejiofor is my current BEST ACTOR winner in 2013 for 12 YEARS A SLAVE (2013, 9/10), and this is another spectacular performance in his résumé, his boxer physique and deep voice do not deter his transformation into Lola, a flamboyant cabaret singer, covered with heavy make-up and kitschy costume, but Ejiofor siphons Lola's vulnerability and sensitivity perfectly on the screen out of her ostentatious stage flair, which gives enormous warmth to keep the film afloat, in spite of many standard clichés about provincial prejudice towards the trans-gender minority and a bitch-faced girlfriend who will ultimately cheat on our protagonist.
Edgerton's Charlie, is a traditional guy, craves for a normal family life and worries about that he could not live up to his father's expectation, his self-affirmation remedy is inspired by Lola but the film doesn't shy away from his own bias as well although the over-heightened drama between him and Lola does merely serve as a plot device rather than a sincere catharsis.
Nick Frost and Linda Bassett play two among several working-class laborers in the factory, the former is basically for comic relief and the latter is devised to express her feistiness occasionally. Potts' Lauren is the good gal always standing behind the man's back and Rooper's Nicola is the unsupportive girlfriend with a uncomely bob hairdo.
Narrative aside, the musical rendition from Lola steals the limelight every time, Ejiofor's voice is a bit too blunt and in lack of variety, but his diva aura is second to none.
Cleverly and intentionally, Jarrold blurs the line of Lola's sexuality, we are in the era of non- discrimination of one's sexuality, so it doesn't matter in any rate, the film is a fairly accomplished musical, balanced with both drama and comedy elements, it is also a small picture with a big heart, terrifically accessible to audience, neither cringing-worthy nor patronizing, this alone, is worth the good words-of-mouth and a two-thumbs-up.