Review: "The Prom" Does Enough Right to Be a Good Time

Scene from The Prom (2020)

If there are any issues to be found with director Ryan Murphy's version of The Prom, they're mostly found in the show it was adapted from. At its core, it's one of the most good-intentioned musicals of the modern age, spinning the familiar coming of age story about proms into this one of queer acceptance. When the film is in this mode, there's rarely anything more euphoric, finding protagonist Emma (Jo Ellen Pellman) expressing herself with this passionate outsider narrative. It's her against an Indiana school that finds her lesbianism offensive. The struggle makes for compelling drama, especially when dealing with her still closeted girlfriend Alyssa (Ariana DeBose). 

Those moments of tenderness are the heart of the film, which unfortunately are sidelined by something more egregious. The Prom is as much about acceptance as it is the power of theater as a form of self-expression, and that means a whole supporting cast of eccentric Broadway types. What they bring to the show is essential, but the approach creates a gross misunderstanding of what makes The Prom a delightful addition to the movie musical. It isn't about watching adults ham it up, sharing these stories of coming out and doing vivid dance numbers. This was, as its title suggests, should've been about the prom. Had the story been presented predominantly from Emma's perspective, it may even be a masterpiece. Instead, it's a decent if familiar story only elevated by a sugar-rush of a soundtrack that is sure to get stuck in your head. It's a good time, but it could've been better.

On the one hand, it makes sense why The Prom is centered around the adult actors. They have all of the star power. Names like Meryl Streep, Nicole Kidman, and Andrew Rannells headline the show with this wonderful chemistry. Everyone is winking at the right time, breaking out into song in these dazzling, bejeweled outfits. It's shameless fun that celebrates the heart of live theater, packed with subtle references for nerds to fawn over. When they're down on their luck, they turn to help Emma in hopes that it will improve their image. Their intentions are good, but one of the brightest spots was the awareness to make them all a bit delusional, believing that Tony Awards would get them suites in dumpy Indiana motels. In this respect, they know exactly what type of film they're in.

The issue is that this plays like the P.O.V. for the viewer. Instead of giving more time to build up Emma's personal life and struggles, The Prom centers around adults who already have enough confidence in their sexuality, a flamboyancy that illuminates with humor. But the issue is that this story is familiar. The amount of stories of eccentric adults finding ways to better the world is not a fresh concept. Sure, having subplots like Barry (James Corden) finally going to the prom have their place in this narrative, but it shouldn't be the lead. Theater is sold to the Indiana characters as a form of escapism, but instead The Prom suggests that Indiana is where theater escapes to. As a result, any bigger commentary on how life gets better for queer students feels like some pet project instead of something more organic and real.

This is a shame because Emma and Alyssa are delightful to be around. Emma's first number "Just Breathe" has so much wit. Murphy shoots the school with so much life, finding her walking alone down hallways and swimming, doing her best to feel like she belongs when she doesn't. There's so much effectiveness in how this film flows. Murphy comes closest to understanding her insular struggles through song. Tender numbers like "Dance With You" have so much heart, where realism fades into fantasy and captures one of the most inspired set designs of any recent movie musical. Everything feels bigger, full of this greater potential. The Prom understands the importance of theater and celebrates it with a goofy grin. Songs like "Zazz" hearken back to 60s style Bob Fosse numbers, inspiring those in the audience to play along.

Again, the issue is that for as much as the prom is the center of the film, it doesn't feel like it's what everyone cares about. It's more about allowing the adult actors to do these vibrant numbers, giving those familiar messages of loving yourself. It's not actually breaking new ground even as the adults ham it up and make for a good time. Sure it occasionally overlaps in clever ways, such as Rannells' excellent "Love Thy Neighbor," but otherwise it's not creating a deeper conversation about why conservatism and society frown upon LGBT audiences. It's a celebration, which is important, but the way it goes about it feels a bit misguided. It hits the beats that you'd expect it to make and the finale is a familiar (if uplifting) dance number that only highlights how much this amazing soundtrack is doing the heavy lifting.

Giving credit to Murphy, this is one of the most enjoyably directed musicals of recent years. With his eye for set and costume design, there's plenty of shameless spectacle on display. Once you look past any tired conventions, it becomes something more substantial. The songs that work are earworms. The idea that live theater is a form of escapism gets perfectly explored to the point it likely will convert a few people. However, it still feels like Broadway is thinking first and foremost about its own self-interest, barely allowing Emma to get her fair shake. Sure, the latter half finds a shift into something more dramatic and effective (notably with the minimal perfection of "Unruly Heart"), but it only works if you buy into the earnest energy. 

Everyone here is committed to having a good time. The Prom plays things big and it's refreshing to find a film so embracing of eccentricity that it elevates the film into something greater. While it comes up short in the story department, it does what any good musical does and puts on a good show anyway. The moments that work sparkle, inspiring hope that the movie musical will not go away. As far as adaptations go, this is a very good one that highlights what works onstage through a film prism. It may be imperfect, but its heart is in the right place and there's enough working for those who simply want a good time. It does exactly what you'd expect it to, but is that a bad thing? Just sit back and enjoy yourself. That soundtrack is going to be stuck in your head one way or another.