An attempt to revive the long-dormant genre of musical fantasy, the $20 million "Xanadu" was generally blasted by the media when it opened in 1980; Esquire went so far as to call it "Xanadon't." But time has been oddly kind to this much-maligned movie. In the 19 years since it first appeared, it's generated a substantial cult following, and it's not hard to see why, especially in light of the big-band revival (which "Xanadu" predicted) and the mania for all things disco (which "Xanadu" celebrates). There's never been a movie quite like this, and there never will be again. And that may not be a bad thing.
But taken for what it is -- an unapologetic wallow in the glitz and gloss of the late 1970s -- "Xanadu" is actually a lot of fun. After all, it's difficult to hate a picture that tries so desperately hard to dazzle.
The slender story concerns a disillusioned artist named Sonny (Michael Beck, whose line-readings give new meaning to the term 'wooden') who's persuaded by former bandleader Danny McGuire (Gene Kelly, looking pleasantly baffled by everything going on around him) and the mysterious beauty Kira (Olivia Newton-John at her most radiant) to open a state-of-the-art roller disco called -- ta da! -- Xanadu. It's doubtful, however, that Kubla Khan's 'stately pleasure dome' had much in common with this place, where spandex-clad vixens, guys with over-moussed hair and other fashion victims get down to the sounds of the Electric Light Orchestra.
While this boogie wonderland is under construction, Sonny winds up falling in love with the evasive Kira, who won't reveal anything about herself except that she lives with her sisters "on the second floor." Kira realizes love between a mortal and a goddess is strictly taboo, but that doesn't stop her from giving her heart to Sonny. After she's whisked back to a strangely empty-looking heaven, Sonny goes after her and persuades her to come back to Earth one more time. In the movie's wildly over-the-top finale, Kira appears on the opening night of Xanadu and takes on the personas of a tap-dancing Betty Grable, a mini-skirted Nancy Sinatra, a boot-scottin' cowgirl and a princess from outer space to perform a floorshow no one's likely to forget.
Ridiculous? You bet. But Newton-John and Kelly are thoroughly charming, the music (including Newton-John's huge hit "Magic" and the lilting "Suddenly") is intoxicating, the production design is out of this world and the costumes are, well, very much a product of their time. The script also manages to contrive a pleasantly perplexing wrap-up to the romance, rather than going for the obvious.
Most importantly, "Xanadu" serves as a time capsule of that magic moment when the future of pop was up for grabs. In "Dancin'," one of the strangest musical numbers ever put on celluloid, a faux-Glenn Miller big-band clashes with shock-rockers The Tubes, and their wildly different styles ultimately merge into a curious but cohesive whole. It's a hilarious and effective argument for open-mindedness.
There's also a cheerful positivity to the entire project that's completely out of step with the jaded 1990s. The story speaks out against cynicism and self-defeatist thinking, insisting that those who truly believe in their dreams will ultimately triumph. Naive as it may sound, that kind of message is genuinely refreshing to hear these days. As a movie, its merits are debatable, but as a relic of a long-gone era, "Xanadu" is priceless. James Sanford
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