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Director Richard Ellenborough has t been Able to overcome the major problem a movie maker faces when dealing with a stage play he has t been Able to take the play out of the theater and put it on the screen. Not that he did t try it s All too obvious that he did. But because most of the film remains Stag bound Attenborough s cinematic inspirations stand out like a sore toe. Most of the film does t offer any More imaginative technique than one sees night after night on to cop shows it s the ultimate in plodding realism. Then suddenly irrationally the characters burst into song and dance and we re overwhelmed by crazy camera angles bizarre lighting effects fade ins fade oils and optical illusions performed with mirrors. It s too much to take and so disconcerting that ouf concentration is disrupted. Granted no one behaves in a musical the same Way they would in real life but Attenborough sets up the audience to expect reality and then does t deliver. A chorus line would have benefited from a Little less reality and a Little More slag Ness an approach that would have made it paradoxically More believable. Still for anyone who wants to see some dynamite dancing the film is Well Worth watching. All the aspiring Young dancers Michael Blevins Yamil Borges an can Boyd Gregg Burge Cameron English Tony Fields Nicole Fosse Vicki Frederick. Michelle Johnston. Janet Jones Pam Klinger Audrey Landers. Charles Mcgowan Justin Ross Blane Savage and Matt West Are excellent. So Are Michael Douglas As the psychiatric minded choreographer Zack Alyson Reed As his sex Girlfriend Cassie and Terrence Mann As Zack s right hand Man Larry. But if the dancing is inspired the music in t. Composer Marvin Hamlisch and lyricist Edward Kleban Haven t gone out of their Way to break new ground and the result is a score that might As Well have been written in the 1950s. The Story line is fairly skimpy. Ii involves the choreographer s efforts to gel a group of Young dancers trying out for his show to reveal what makes them tick Why they want to be dancers what their childhoods were like what they think of themselves. The dancers revelations turn into a Litany of adolescent complaints even though some of them Are far beyond adolescence. One was abandoned by her father one was ignored by his parents one Felt ugly until she had plastic surgery a couple had to come to terms with their homosexuality. This is intended to be pretty serious stuff and to the characters it probably is. But somehow on the screen it All seems pretty lifeless and unimportant. None of the characters commands any real interest it s As if they were Silling next to you on an air plane revealing secrets you really Aren t interested in hearing. The audience s deepest reaction is to wonder when the next dance routine will come along. 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