Footloose isn’t so much awful as dumb and obvious. Some of it is awful–the scene where Kevin Bacon, fed up with the small town getting him down, just has to go to an abandoned mill and dance it out–that scene is awful. So are most of the courtship scenes between Bacon and Lori Singer.
But the relationship between Singer and father John Lithgow? While really obvious and thin, the actors do okay with it. Singer’s not good, but she’s convincingly angry. Lithgow’s the emotionally wounded reverend who tries to fix the world through his sermons, only to learn the townsfolk he’s trying to save are perverting his message. It’s just Footloose’s way not condemning the religious in the audience, just the ones who don’t like rock music. Though it does a really bad job of it.
Some of the problem is Dean Pitchford’s script. It’s dumb and often bad, but Pitchford really doesn’t shy away from difficult scenes. The ones between Lithgow and Singer, the ones between Lithgow, Singer and Dianne Wiest (as the quietly suffering preacher’s wife), they’re really good. But Pitchford doesn’t know how to work them. The most important conversation in the film–between Bacon and Lithgow–doesn’t even occur on screen.
It’s not like director Ross does much good. He probably can’t make Bacon look any younger and most of the performances are blandly acceptable, but the idiotic dance interludes are Ross’s fault.
Footloose is often marginally competent, but never any good.
Directed by Herbert Ross; written by Dean Pitchfork; director of photography, Ric Waite; edited by Paul Hirsch; production designer, Ron Hobbs; produced by Lewis J. Rachmil and Craig Zadan; released by Paramount Pictures.
Starring Kevin Bacon (Ren), Lori Singer (Ariel), John Lithgow (Rev. Shaw Moore), Dianne Wiest (Vi Moore), Chris Penn (Willard), Sarah Jessica Parker (Rusty), John Laughlin (Woody), Elizabeth Gorcey (Wendy Jo), Frances Lee McCain (Ethel McCormack) and Jim Youngs (Chuck Cranston).