nathanzoebl

I didn’t even plan on writing this review. I knew of the indie musical Moondance because I was familiar with several crew members who worked on the $500,000 project and watching their pictures on social media, but when I discovered it had been filmed entirely outside the state of Ohio, primarily in Kalamazoo, Michigan, I decided to exclude it from my mission to professionally review Ohio-made indies. As of this writing, it was available on the website Tubi for free with ads, so I started it on a whim to show my girlfriend what I had intended to watch, and then I kept watching, and then I didn’t want to continue but I felt compelled to, and now I feel compelled to dissect this movie as best as I can, even with its tangential connection to the Ohio indie film scene. Moondance is a confounding experience for a lover of big screen musicals because it’s a musical that doesn’t really want to be a musical, a comedy that doesn’t know how to do comedy, and a drifting drama bereft of characters to root for and reasons to cheer.

The story is familiar. We have our boy, in this instance Oscar (Jonah Robinson), a composer suffering writer’s block, and he meets our girl, Abby (Carolyn Rabbers), a dancer. Oscar is instantly smitten and tries tracking Abby down, while his “best friend” Pat (Sam Jones) schemes with his very David Rose-esque assistant Sean (Brandon Stewart) to have her for his own. In between these shenanigans, Cooper Flannigan (credited as “Self”) appears to be a hipster friend of Oscar but also the god of this universe as he routinely breaks the fourth wall and is played by the actual writer/director.

I have to give credit for anyone having the gumption to try and create a low-budget musical. That’s a tall creative order and unfortunately Moondance can’t quite match its toe-tapping ambitions. There are only four songs in the entire musical before the end credits (I’ll get to those later). By the 45-minute mark, I had only experienced one legitimate song-and-dance number and I was wondering if the reality of this movie had simply abandoned being a musical. There are a couple additional dance numbers as one would expect with Abby being a dancer, some set to performances from musicians, but for the first hour there are only two honest-to-goodness moments where characters break out into song. Why is there no opening musical number that introduces the different characters and their different perspectives, stations, plights, goals? That would be an economical way to establish the world and its players. There seems to be real hesitancy onscreen with embracing its musical identity. The musical numbers are meant to give us insight into the characters who can’t help but blurt out their feelings, and yet during the requisite boy-and-girl-on-the-outs part, there is no musical number. There isn’t even a musical number for their growing affection for one another. We’re missing a love theme, and for a romance-heavy musical that’s meant to evoke the feeling of Old Hollywood, that seems like a massive oversight.

The staging and performance of the musical numbers, when they do appear, can also be underwhelming and counter-productive. From a choreography standpoint, much more emphasis is placed on the background players including a superfluous “intermission” dance. There is one number where the key characters do little more than literally ride a bicycle in a circle, and I would argue this is the best number in the film. There is more dancing than singing and that seems the primary reason why Rabbers was chosen as the lead female role. She certainly has talent as a dancer. As a singer is another matter. I feel unkind even articulating this but for a musical it needs to be said: Moondance would have been better off dubbing Rabbers. Her singing voice is just not there. I don’t see any harm to the production if the filmmakers had dubbed her singing. Another issue is that Abby’s dancing feels a bit too chaotic and chaotically edited. There’s a moment of sorrow where she dances out her feelings, but the choreography isn’t conveying the emotions of the scene any differently than a previous dance for us to compare with, and the editing isn’t helping, until it concludes with her pounding a wall in frustration and falling into a crumple on the floor. The camera could have locked onto her face, so as she moved and performed the emphasis was on her emotional state and what the dancing signifies. Whether it’s the lackluster songs, singing, and the nascent choreography that needs to communicate more personality for the big players, Moondance stumbles as a musical.

From a comedy standpoint, let me focus on one small scene that I think exemplifies the pitfalls of comedy construction that Moondance suffers from throughout. We start a scene with Oscar and Cooper at an ice-skating rink watching a curling team practice. Oscar opens the scene by declaring, “22 dance studios!” to tell us he has struck out trying to find Abby, and then for good measure he repeats the line to better establish his bafflement. “What am I supposed to do now?” he asks Cooper, who asks whether Oscar has considered the possibility his dream girl doesn’t exist. “No, I haven’t considered the possibility she doesn’t exist,” Oscar replies, weirdly echoing the exact wording just to hammer this home for the audience. He sees Cooper distracted, sighs, and says, “I’m going to go to the bathroom, or the parking lot or… something.” He then leaves and then Cooper addresses the camera and informs us on the mechanics of the sport of curling. This will never come up again in the entire movie. So, dear reader, let’s deconstruct this scene. It begins with Oscar stating his futility. He repeats his line twice. His friend offers no help, makes a reference to Oscar’s mental state, not a joke but a reference, to which Oscar simply repeats the assertion rather than supply a joke response or anything that can be constituted a response. Because of this, Cooper has nothing funny to build off from, so he asks a simple “what next” and rather than supply a joke that showcases Oscar’s pitiful state, he offers two suggestions, neither of them funny, then doesn’t even provide a third suggestion, instead giving up and not even following the age-old comedy rule of three. From there, Cooper informs us about something that will not matter and is not funny. Why does this scene even need to exist if even the characters can’t be bothered to come up with jokes?

I was dumbstruck by the ineffectual comedy throughout Moondance. This is the kind of movie that has characters devise a stakeout and disguise themselves in bear costumes for no reason. Do they do anything in these costumes? No. The joke, I assume, is that they’re in funny costumes. This is akin to a character walking into a room with a silly hat, and the director saying, “Hey you, look at this comical hat being worn. Isn’t it so unlike normal hats? A normal person would never wear a hat like this. What a cut-up to wear this hat. Are they going to do anything differently because of this hat? Well, no, but what a silly hat, right? Please laugh.” Just stopping at this conception and doing nothing else is not comedy. There need to be setups, payoffs, subversion, running jokes, subversion of running jokes, something, anything. There is a stark sense of desperation throughout Moondance when it comes to its sense of humor. Take for instance a dinner where the group is hob-knobbing but then the girls meet below the table to share their real thoughts under the excuse of retrieving a fallen fork. Why not repeat this setup, making it more outlandish and obvious as you go? Why not present one perception, above table, of the girls, and one below where they are their true selves and confessing distaste? There are moments where it feels like the writer/director just had little grasp on humor and lost track of opportunities. The jokes are rarely accessible; it feels like you’ve entered into a private conversation and are left to put the pieces together. Sean is definitely slotted as “comic relief” but he feels overexposed. I was confused what his relationship was supposed to be with Pat. Is he the assistant, lover, or friend? Eventually I learned that he was Pat’s brother, but why did I have to fight so hard to understand this fact? The writing doesn’t make it easy for the audience to follow along, and this extends to its comedy writing. The fourth wall breaks are tone-breaking but, again, not funny. They feel included just as a fun way to include the crew in the movie, which, again, feels like a private party indulgence. The comedy of Moondance is primarily dormant. It’s over-compensating a lack of funny on the page by asking its actors to dial up their performances, so all the unfunny dialogue and antics now just seem like they’re being performed by crazy people on illicit substances.

If this movie was going for satire, I think it missed it by a wide margin. I don’t know why we have a character with godlike powers and this is treated like a lame party trick. Why not refocus the entire movie from this perspective and have Cooper be the god of a rom-com musical universe, and he’s the only one who knows he’s in a movie, and he’s pulling out every stop to get his chosen guy and chosen girl to get their big happy ending. That way it would play upon our knowledge of genre tropes and bring something fresh, while utilizing the fourth wall breaks as essentially strategy planning and introducing a team of helpers that would see through his efforts. Instead, we get the jovial character of Cooper who strolls around and offers few insights into the nature of romance or the nature of romance movies and our association of them. He feels like a magic hobo. I sense the homage to the Old Hollywood musicals and the big band accompaniment for all those jazz hands and hoofing, but it’s more intention than actuality. It’s going through the motions, and without enjoyable characters and an engaging story, it’s an homage that ends up empty.

My final criticism might be the one that made it the hardest for me to embrace Moondance, and this is how aggressively unlikable nearly all of the characters come across. In a romantic musical, you can have less than stellar singing, dancing, and even songs but your audience needs to care about the people onscreen. You need to feel the desire for them to get together, find their happiness, and at a basic level, you have to enjoy spending time with your core group of characters. Otherwise you’re stuck, and dear reader, stuck is what I felt with these people. I never cared about Abby and Oscar getting together because I never found them to be remotely interesting. Oscar is a bland protagonist. The only thing we know about him is that he writes symphonies. He immediately becomes obsessed with Abby to the point that, even before he ever speaks his first word to her, he declares Abby “his girl” in a creepy act of possession. He’s in love with her but cannot explain why. Would have been perfect for a song there to articulate his new feelings, right? We know even less about Abby. She’s a dancer and wants to save an old dance studio, but anything else? Well during a scene where she lunches with a friend, she has a giant burger as her meal. Does she eat it? No, but just being seen with this pound-plus of beef is meant to do the work the screenplay hasn’t and imbue useful characterization. She’s not some prim “just east a salad” kind of girl, oh no, give her a honking burger. To my best estimation, Abby and Oscar go on two dates (one of which she apparently has harassed a waiter, and this is supposed to be endearing?) so when they part ways before Act Three, this short-lived breakup doesn’t exactly feel as earth-shattering as the characters try to convince us. We’re simply not invested. Rabbers and Robinson (Jack Jonah) don’t have strong chemistry together but it’s not their fault. The script gave them nothing to work with and no points of characterization to better define them as people or make either of them interesting to watch.

The character of Pat is pompous and entitled and I don’t know how anyone would remotely take his involvement in what is angled as a love triangle with any seriousness. He is a terrible character and a terrible person and he just seems to exist in a daydream of privilege. What does he do all day? He buys expensive paintings for his… Rubens parties (again, another point of accessibility made challenging for the audience when this is referenced without context and it took my third stab at understanding what it meant to gain clarity). Later in the film, he monologues to his paintings before setting them ablaze, and it’s played like the mental break of a serial killer, and it’s so tonally off to induce whiplash. Pat’s the cartoonish fop character that would be presented as the rich buffoonish bad boyfriend in any other movie, and yet here he’s supposed to be the best friend to Oscar, yet we see no behavior that communicates their close personal relationship. This is a trenchant problem throughout Moondance, the screenplay constantly having to tell you of something rather than show you. It’s like watching characters thrown into an improv game and grasp for any fragile means of escape from scene to scene.

With all of these words spent in constructive critique, it might seem like Moondance is without notable artistic merit and that is not the case. The photography by Greg Kraus (The Curse of Lilith Ratchet) is well lit and at its best when it has plenty of movement to give a sense of energy that is usually flagging from the page and performances. The smoky jazz number makes fun interplay with shadow to better establish an evocative mood. The musical productions are heavy with big band sounds and brass instruments, enough so that I started wondering if anyone has done a ska indie original musical. The opening segment involves a band performing in a studio space and it was a pleasant experience to set a tone. The musical performances are solid. The musical compositions are competent if unmemorable. I don’t know why the production didn’t just fully go the jukebox musical route with local artists if we were only getting four original songs (though the titular “Moondance” song lyrics were a bit childish, reminding me of the Hokey Pokey). Hey, they got TV’s Adam Conover (Adam Ruins Everything) to be a brief narrator, a role that seems even less necessary when Cooper is breaking the fourth wall repeatedly as a would-be guide for the audience since he’s already our stand-in god.

Moondance ends on a two musical numbers, the first a kind of curtain call on a theater stage that allows every character, including the dry cleaner guy, to get a sendoff and also break the fourth wall. Afterwards, Cooper addresses the audience and acts as emcee through the various departments and crew members who worked on the movie, with the camera moving in and out of rooms with an impressively agile tracking shot, and ending on several spirited dances, one of which serves as the still image on the Tubi page. The problem is that this is, easily, the most involved musical number and it’s reserved for the end credits. I can imagine Cooper and the filmmakers thought they were ending on a high note to say a fun goodbye to their audience, but by reserving it for the end credits that roll over the scene, it makes it harder to read the credits that are spaced so far apart and it makes it harder to pay attention to the song and dance because of the rolling credits. Why not go split-screen? For me, this sums up the misapplied application of Moondance and its throwback ambitions. It’s not whimsical. It’s not charming. It’s not funny at all. There aren’t characters to care about. The musical numbers are too few and far between. The potential hook to separate this, its satirical behind-the-scenes god at play in a musical world, is not incorporated in a vital and clever manner. Moondance is a strange passion project because it’s hard to feel any passion for this story and characters. It pains me to be as blunt as I am but there are too many issues to go ignored. I wish everyone with the production good luck in the future. This will stand as an artifact of bewilderment for me. See it for yourself on Tubi and whether it casts a bewitching spell on you, dear reader, or leaves you just as confused and disappointed.

Nate’s Grade: D+