There’s a specific genre of performing art that I shall refer to as the Raunchy Musical. Whether a musical like Rebel Wilson’s “The Deb” falls into that category is subjective, but if you were to judge the film solely by its opening number, it would fit rather nicely.
Based on a stage show with a book and lyrics by Hannah Reilly, who also penned the screenplay, “The Deb” tells a seemingly straightforward story about Taylah (Natalie Abbott), a girl who wants to find a date for a debutante ball — hence the film’s moniker — and hopefully emerge as someone new in the process. Rest assured, you will hear the phrase “The Deb” many, many times as you take in the energy threatening to burst the film at its seams, often completely overshadowing the plot.
That opening number, by the way, does its absolute best to scream into the audience’s face about what they’re in for, with lines about the offspring of wealthy parents disavowing the lavish gifts they’ve received because they’re not up to their bougie standards. I never imagined using that word in print, and yet here we are.
Did we mention Maeve (Charlotte Macinnes) yet? Taylah’s feminist cousin acts as the counterpoint to Taylah’s goal, and if you think this will all lead to that tried-and-true moment when our leads learn a thing or two about themselves, you’ve definitely watched your share of ABC Afterschool Specials.
“The Deb,” directed by Rebel Wilson, who also appears in a supporting role befitting her career thus far, certainly can’t be faulted for every shortcoming in its source material. However, “The Deb” clocks in at a far-too-lengthy 117 minutes. Being unfamiliar with that source material, it’s impossible to say whether the stage version is just as near-manic, even when stripped of the cinematic flow between scenes and its many locations. Still, the musical numbers and the scenes between them are undeniably balanced nicely onscreen.
Unfortunately, despite committed performances by practically everyone in the cast, “The Deb” is hard to follow and often fails to hold your attention even amid the chaos. While most musicals exude a heightened atmosphere, this is something else entirely.
A saving grace, you ask? Frequently, the music is good. Quite good, in fact. One song near the midpoint mixes hip-hop with a contemporary pop sensibility and stands out as a genuine highlight. The same can be said about much of the soundtrack, which offers enough stylistic diversity that it wouldn’t feel out of place on a current Spotify playlist.
Yet it’s hard to ignore the skeleton choreographing a dance around the closet: without question, this is exactly the sort of film Rebel Wilson would make. The lyrics of that opening number overflow with curse words and self-deprecating humor, and the material doesn’t get much better from there. While the quality of the performances and the overall tone are established early, neither deviates much from that initial plateau. Eventually, the simple act of trying to hang on for dear life becomes a futile effort.
Countless musicals have been adapted from their stage counterparts, and without knowing the stage version of “The Deb,” it’s impossible to compare the two. However, judged solely on its story, music, and film merits, this is an over-the-top romp with a shadow of potential and an abundance of songs in search of a coherent narrative. There are things to appreciate, but when brought together, they don’t work. [C]
Brian Farvour is a film/television critic and entertainment journalist whose work has also appeared on Fandomwire. He previously co-hosted The Playlist Podcast.
