Steven Soderbergh is a brilliant director. Who else could take a potentially lurid subject like male stripping and fashion it into an introspective little drama? His document rises above the topic to become a rather engaging chronicle of a ”career”-minded individual. The narrative admittedly follows the familiar trajectory of a cautionary tale involving booze, drugs, and women. It’s the multi dimensional characters that really set this apart. Channing Tatum plays Mike Lane who labors as a roof tiler for a local construction company. New hire Adam (Alex Pettyfer) becomes a member of the crew supervised by Mike. Following an accusation of taking extra sodas by the head boss at work, Adam quits in anger after only one day. A college dropout with a slacker mentality he has no prospects. Feeling sorry for him, Mike takes the rookie under his wing and introduces him to his other occupation.
2012 has been the year of the Tatum. The actor has appeared in no less than 3 box office hits that have grossed in excess of 100 million dollars this year. The Vow, 21 Jump Street, and now Magic Mike. Furthermore, this follows in the midst of the delayed debut of G.I. Joe: Retaliation. It was moved from its original intended release date of June 29 2012 to March 29 2013 ostensibly to retrofit the print in 3D. But it was reported in May that the *REAL* reason was based on the test screening audience’s rumored dissatisfaction with the movie. The root of their issue? That Channing Tatum’s character dies too early. Reshooting a film due to a star’s newfound popularity is the very definition of having arrived in Hollywood.
The drama is highlighted by an appealing and colorful supporting cast. Matthew McConaughey is terrific as the owner of the club where the guys dance. He portrays the aging boss (He‘s in his 40s!) with his typical laid back Texas charm. But just because he deals in a sketchy industry doesn’t mean he takes his job any less seriously. He’s a focused businessman and rules his boys like the madam of a brothel. There’s sort of a backstage camaraderie between the guys that you might find with the performers of any legitimate theater production. Alex Pettyfer is Adam, dubbed “The Kid” onstage. He suitably conveys a wide eyed innocence seduced by the money that makes it believable he’d get into this line of work. And let’s not forget the women of the picture. Cody Horn is Brooke, Adam’s sister. Her part is key because she represents the saga’s moral center. There’s a scene where she visits the club to find out what her brother has gotten into. Even before her brother has a chance to perform, Mike takes the stage. Her face registers judgment, then curiosity, followed by disgust as she watches the show. It’s a subtle display, but her role really ties these different worlds together. Also of note is Olivia Munn as the woman with whom Mike has a prior relationship. The intensity of their commitment seems to be up for debate as the tale unfolds.
Screenwriter Reid Carolin’s script is much more concerned with getting to know these people than superficial displays of lascivious behavior. Carolin is Tatum’s producing partner. They worked together on Stop-Loss. Here he fashions a fictionalized account based on Channing Tatum’s own experiences as dancer in Florida before he became a Hollywood actor. Maybe that’s why there’s a surprising depth to these individuals. Director Soderbergh does initially present Mike’s world with a hedonistic superficiality, but he also contrasts this with Mike’s ultimate desire to launch his furniture-design company. There’s a memorable segment where he’s trying to apply for a loan at the bank and it’s reminiscent of that heartbreaking bit in Boogie Nights where Don Cheadle’s character attempts to open his own stereo equipment store. Magic Mike’s subject matter shares other similarities with Boogie Nights in theme. While the breadth of human experience isn’t anywhere close to that landmark film, Magic Mike still manages to present an interesting take on the life of people who exploit sexuality for money.
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