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Cast

Irene Cara
as Coco

Barry Miller
as Ralph

Gene Anthony Ray
as Leroy

Eddie Barth
as Angelo

Lee Curreri
as Bruno

Maureen Teefy
as Doris

Laura Dean
as Lisa

Antonia Franceschi
as Hilary

Debbie Allen
as Lydia

Albert Hague
as Shorofsky

Anne Meara
as Mrs. Sherwood

Tresa Hughes
as Mrs. Finsecker

Paul McCrane
as Montgomery

Boyd Gaines
as Michael

Steve Inwood
as Francois Lafete

Joanna Merlin
as Miss Berg

Teresa Hughes
as Mrs. Finsecker

Jim Moody
as Farrell

Richard Belzer
as M.C.

Nancy Gianzero
as Nancie

Frank Bongiorno
as Truck driver

Billy Hufsey

Bill Britten
as Mr. England

Eric Brockington
as Plump Eric

Nicholas Bunin
as Bunsky

Cindy Canuelas
as Cindy

Nora Cotrone
as Topless Ballet Student

Mbewe Escobar
as Phenicia

Gennady Filimonov
as Violinist

Victor Fischbarg
as Harvey Finsecker

Frank Penny
as Dance Teacher

Willie Henry Jr.
as Bathroom Student

Steve Hollander
as Drama Student

Laura Delano
as Dancer

Michael DeLorenzo
as Dancer

Sang Kim
as Oriental Violinist

Aaron Dugger
as Dancer

Darrell Kirkman
as Richard III

Judith L'Heureux
as Nurse

Meg Tilly
as Dancer

Ted Lambert
as Drama Student

Louis Venosta
as Dancer

Anthony Evans
as Musician

Nancy Lee
as Oriental Student

Sarah Malament
as Dance Accompanist

James Manis
as Bruno's Uncle

Carol Massenburg
as Shirley

Isaac Mizrahi
as Touchstone

Raquel Mondin
as Ralph's Sister

Alba Oms
as Ralph's Mother

Frank Oteri
as Schlepstein

Traci Parnell
as Hawaiian Dancer

Sal Piro
as Rocky Horror M.C.

Leslie Quickley
as Towering Inferno Student

Ray Ramirez
as Father Morales

Loris Sallahian
as Drama Student

Ilse Sass
as Mrs. Tossoff

Dawn Steinberg
as Monitor on Stairs

Jonathan Strasser
as Orchestra Conductor

Yvette Torres
as Ralph's Little Sister

F.X. Vitolo
as Frankie

Stefanie Zimmerman
as Dance Teacher

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Critic Reviews for Fame

Audience Reviews for Fame

• Nov 11, 2018

  The movie is way too overstuffed to be an effective examination of these kids (on top of covering four years, the movie has so many characters you barely get a chance to learn all their names) and whenever the movie tries to be realistic in one scene it often swings wildly to an after-school special plot in the next. Also, I know this came out in 1980 but I refuse to believe that at this school there would only be one gay kid.
  

  Alec B Super Reviewer
• Oct 12, 2018

  I love so many aspects of this film that I'm surprised it doesn't have a higher average rating. From its very beginning, with a brilliant audition sequence that has director Alan Parker switching between a number of characters and scenes, the film had me. Soon afterwards he hits it with the first of the musical numbers, an impromptu song and dance that breaks out in the lunch room, which captures the power of creative people feeding off one another. How that leads to the quieter girl (Maureen Teefy) escaping the noise to sit with a sensitive young man (Paul McCrane) and start up a friendship is also very nice. 'Fame' was ahead of its time in giving us a diverse cast, and that's in a lot of ways - race, language, body shape, sexual orientation, and economic background. It really captures the spirit of New York, and this is heightened by shots on the streets and in the subway. There are so many items it touches on - homophobia, abuse, violence, sexual harassment, and abortion. It celebrates the beauty of the arts, while at the same time cautioning just how difficult it is to make a career out of them. Its spirit is infectious, and it's filled with poignant moments. Parker effectively uses an ensemble cast, each of whom contributes, but Barry Miller stands out as Ralph Garci, with a number of fine scenes: his impromptu acting during the audition ("I'm God, see?"), his recounting the pain of finding out Freddie Prinze had died, his telling his friends the real truth about his father, his lashing out a priest after his 5-year-old sister is assaulted ("Since when are you in the thinking business?"), and in bombing at a standup comedy club. It's a brilliant, powerful performance. Irene Cara sings on a number of the tracks, including the wonderful title song, and also provides a heartbreaking moment when she's lured into posing topless in the apartment of a man posing as an indie film director. There are so many dangers that surround these kids, and the honesty of this predatory scene is a forerunner to the #metoo movement. It's too bad it's offset somewhat by Parker himself giving us two immature voyeuristic scenes of the boys peering into the girls changing room. McCrane's descriptions of his growing sexual awareness, and the reaction he relates from his therapist ("He said it was probably a life choice"), is also touching. I liked the simple earnestness with which he portrayed this character, and his scene consoling Ralph Garci at the end (where Garci says "How do you know if you're good? Maybe you never know"). Without going through the rest of the big cast, I'll just add that I loved Jim Moody as the drama teacher, and wished his role hadn't tailed off after the sophomore year. That is one of the film's weaknesses - stories are unfinished and characters either disappear or certainly aren't all wrapped up with a big bow as in other movies - but this is also a strength in some ways. It gives the film the sense of how memories from the past are, and the ambiguity leaves it to us to imagine how the characters' lives played out. I think of 'Fame' as a collection of great moments, highlighting the arts, the human spirit, and growing up in a tough world which has so much danger and disappointment. Heartfelt and captivating, it's a great film.
  Antonius B Super Reviewer
• Jan 15, 2011

  "I celebrate the me yet to come." Recognizing all its flaws, I unabashedly love <i>Fame</i>. I understand that the characters fall into stereotypes, and I think many of their stories never reach a cathartic or dramatic conclusion; this is especially true of Ralph and Leroy. Also, these are oh-so-clearly adults playing teens; it even seems written that way most of the time. However, <i>Fame</i> achieves a complexity found in few films and almost no musicals. How is it that - for me - this film worked as both a cautionary tale and an inspiration? How is it that I recognized so many people from the acting world in these loosely drawn characters? Parker's direction and the rather spontaneous musical numbers embody the passion, ambition, dedication, triumphs, disappointments, and blindnesses that afflict these people. More to the point, I've known some artists whose talent amazed me, but yet you don't know them. You know talentless hacks, many of whom can't act dead. Each of these people recognizes that what most likely awaits them is a boulevard of broken dreams, spoiled ambitions, and a life counting their tips, hoping enough is there for rent, but each is also driven by an indomitable spirit. <i>Fame's</i> achievement is capturing all that on film, even to some degree into one fantastic scene toward the end (Irene Cara's nude scene - you'll know what I mean if you see the film). Additionally, I enjoyed the peripherals: the stage mother, the broken home, the absent but financially generous parents. All of these exist in varying forms. Overall, it takes some effort to see past this film's flaws, but once you do, you won't be disappointed with what lies at its core.
  Jim H Super Reviewer
• Sep 26, 2010

  When I was was growing up in the 80s, I wanted to go to the NYC High School for the Performing Arts that is depicted in this movie. Fame is all about New York City. It is grimy and bittersweet and big-city. It is a thousand miles away from the quiet traditions of my high school in the Midwest.
  Juli R Super Reviewer

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