By admin 
Introduction
In the mid-1980s, Barry Manilow was the undisputed king of the adult contemporary charts, but he was about to commit an act of artistic audacity that would leave the critics foaming at the mouth. On December 3, 1985, CBS aired what was arguably the most dangerous gamble of Manilow’s career: Copacabana, a full-length television musical based entirely on a four-minute disco hit. This wasn’t just a music video; it was a high-budget, 1940s-period drama that attempted to turn a catchy “novelty” song into a cinematic epic. The production, spearheaded by the legendary Dick Clark and written by the esteemed James Lipton, was designed to be a triumph. Instead, it became one of the most polarizing events in the history of television entertainment, a “Cú sốc” (shock) that forced the industry to ask if Manilow had finally lost his mind or found a new kind of genius.
The emotional stakes were suffocating. Manilow, making his acting debut as the tragic “Tony Starr,” stepped away from his piano to prove he could carry a film. Alongside him was the talented Annette O’Toole as Lola, the showgirl with yellow feathers in her hair. While fans tuned in by the millions, the critical response was a bloodbath. Reviews were not just negative; they were visceral. Critics at the time described the film as “painfully laughable,” “mega-drivel,” and a “waste of time,” mocking Manilow’s transition from singer to leading man. They saw a man whose “squeaky-clean” image was being stretched thin across a plot of murder, passion, and Cuban nightclubs. To the elite press, Copacabana was a gaudy disaster that should have stayed on the radio.
But then, the unthinkable happened—the ultimate industry betrayal of the critics. Despite the scathing reviews, the film didn’t just survive; it conquered. Copacabana was nominated for multiple Emmy Awards and actually WON for Outstanding Directing. This wasn’t just a victory; it was a middle finger to every journalist who had written Manilow off. The “disaster” became an award-winning phenomenon that spawned a stage musical which ran for two years in London’s West End and toured the globe for decades. The story of Copacabana (1985) is the story of a man who looked into the abyss of failure and walked away with a trophy. Was it a success? Commercially and artistically (according to the Academy), yes. Was it a disaster? To the critics who value “cool” over “passion,” absolutely. This film stands as a testament to the fact that in Barry Manilow’s world, the only thing more powerful than a hit song is the defiance of an artist who refuses to be silenced by the elite.