' "), Madonna cavort and frolic with her gay male dancers, Madonna pray ("Lord, please give me that little something extra. And so we get to see Madonna shop, Madonna schmooze with Sandra Bernhard, Madonna get made up, Madonna get her throat checked ("Say 'ahhhhh. At Keshishian's insistence (or so the story goes), Madonna allowed her every move, her every intimate act, to be filmed, both onstage and off. What we get is the mask beneath the mask. It's the part of herself that she has mythologized and now accepts - and asks us to accept - as real. The private Madonna we get is just as meticulously created as the other public Madonnas. But what we get in this sometimes engrossing, sometimes appalling, always entertaining film is something other than "real," something that may in fact be just as revealing as the real thing itself.
Madonna, the real Madonna, is precisely what "Truth or Dare" promises to deliver, raw, kissing-close and uncensored.
She has done it by sheer force of will she was hungry to conquer the big screen in the same way that Hitler was hungry for Poland, and if she couldn't make the transition in other people's films, moving from the dim margins of pop culture glamour to her rightful place at its halogen-bright center, she would make a movie of her own, playing the character she best knows how to play - herself. In "Truth or Dare," Alek Keshishian's documentary record of last year's "Blond Ambition" tour, Madonna accomplishes what her career as an actress could not - she has finally turned herself into a movie star.
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