Anyone who grew up in the 1980s and 1990s understands the power MTV had on their lives in these formative years. Before the dawn of YouTube, hours could be spent immersed in the cable channels around MTV watching endless music videos from across the decades. This, for many of us, is where our knowledge and appreciation of the music we grew to embrace, in part, came from.
The success of MTV—which had forged the careers of numerous future cinematic auteurs including among others Michel Gondry and David Fincher—logically extended into the cinematic realm with the formation of MTV Productions in 1996 – their movie studio arm. While their reach has today declined, at the end of the ’90s, MTV Productions would develop pictures as diverse as Mike Judge’s juvenile Beavis & Butthead Do America, teen college drama Varsity Blues and Alexander Payne’s erudite, caustic Election, the latter both in the cinematic boom year of 1999. It is hard to square such a wildly different set of pictures from the same production house aside from one common denominator: they were all about, for or aimed at the teenage movie market.
Save the Last Dance is an example of how MTV Productions worked to bridge the gap between the independent movie which had emerged during the ‘90s as an antidote to the dominance of the tentpole blockbuster that came to bear from the late 1970s onwards, and the burgeoning concept of the cinematic franchise that by the end of the 2000s would bear fruit and burst into existence as the 2010s arrived.
It feels like a picture born of both worlds simultaneously.