American Bellydancer

American Bellydancer tells the story of Miles Copeland (brother of Stewart Copeland, drummer for The Police) and his efforts to put together a world-wide touring group of bellydancers and Arabic musicians. What makes this work is not just the sight of dozens of scantily clad women displaying incredible control over their bodies, but rather Copeland’s grating, calculating, vaguely evil personality. He freely admits that he’s choosing dancers on the basis of looks; he’s rude to his choreographer, mean to his lead dancer; and yet he’s ultimately a sympathetic character, because the very bullheadedness that makes him so unpleasant also makes him the perfect manager. It’s interesting to watch the transformation in attitude that goes on in those around him as they realize that, as much of jerk as he is, you’ll never find a better ally. If Copeland’s story had been the whole focus of the film, I think it would have been more successful, but it’s bogged down in some silly arguments about whether bellydancing is feminist or exploitive, sexual or non-sexual, liberating or diminishing. This film shows that you can take any position on anything and find support for it in the mess that was late 20th-century "critical" theory. Yawn. But then: unyawn! Miles Copeland and semi-naked dancers!