The 2010 film Burlesque starring Christina Aguilera and Cher was condemned as a flat, poorly acted, and cliched camp disaster upon its release. With bump-and-grind montages where story arcs and character development should have been, the movie virtually operated as a series of music videos with weak dialogue between the ten sexually charged choreographed numbers. That being said, the soundtrack is utterly glorious. Aguilera’s pipes are undeniable and Cher boasts two numbers that so perfectly align with her star identity and historied career. So, for the 13th anniversary of Burlesque, which premiered on November 24, 2010, here’s a ranking of the movie musical’s seven best numbers. 

“But I Am a Good Girl” 

Arguably the most sing-a-long-esque number in the show, “But I am a Good Girl” boasts a somewhat upbeat tempo and an intentionally breathy Aguilera who’s vocalizing in her higher register, which complements the song’s subtext. The lyrics suggest ladylike behavior, but Aguilera’s delivery implies sultry ulterior motives. It’s a fun and smirk-inducing little song with clever, memorable rhymes. As the song approaches its conclusion, Aguilera makes some not-so-subtle erotic noises —  flirting with oohs and ahhs that really hit you over the head with the song’s intent. Though it’s a catchy number, it doesn’t boast much genre variation or portray Aguilera at her vocal peak. 

“Guy What Takes His Time” 

“Guy What Takes His Time” opens with a jazzy and sensual sound akin to the burlesque clubs the film pays homage to. Aguilera’s hitting some low notes here to create that shoulders-rested yet titillating atmosphere that should define burlesque. With brass instruments stealing the spotlight during musical breaks, the song offers up a vintage flair reminiscent of both the blues and jazz. 

Christina’s vocals are also smokier here, yet the remnants of her pop inclination remain evident (despite the slower tempo), making the song more accessible to a wide audience. Like “But I am a Good Girl,” this song is an enjoyable little foray into the musical attributes akin to the Burlesque landscape, but simply cannot compete with some of the more lyrically and musically complex numbers in the show. 

“Express” 

Featuring a more contemporary feel than the earlier two numbers, “Express” benefits from a sound rooted in pop and dance-pop. Though boasting energetic beats and a more modern melody (via synthesizers and a pulsating consistent rhythm found in the nightclub), the song also features electro-swing elements. “Express” seamlessly blends vintage swing and jazz elements with electronic features, creating a fusion of retro and contemporary styles, giving the number a unique edge when compared to the film’s other songs. The song embraces Aguilera’s pop sensibilities while maintaining a connection to burlesque in a way that feels inventive, contagious, and tributary. 

“Welcome to Burlesque” 

Oh, Cher, you will always be our ring leader…despite whatever Britney may posit in “Circus.” Cher introduces the club with panache and decorum; somehow, the Queen of Reinvention manages dirt and dignity all at once. And we’re eating it out of the palm of her hand. With that signature husky contralto voice, she’s prime picking for the leader of the pack. And we even get that beloved Cher belt 30 seconds into the song. The choreography also centers her among the dancers, creating the Queen Bee energy she will showcase throughout the film. 

The orchestral arrangement is reminiscent of classic Hollywood with a prominent string section, woodwind hints, and dramatic swells and crescendos, contributing to its timeless quality. Yet, the music never overpowers Cher, allowing her knack for storytelling via song to emerge and lay the groundwork for the film. Featuring ballad-like and theatrical elements, the song spotlights the legend’s emotive vocals. 

“Tough Lover” 

Opening with a signature Christina growl and some acapella moans and groans…how could you go wrong? This is Aguilera’s bread and butter. Ask her to growl and she’ll give a mother bear’s volume. The song then transitions into a mix of Rock and Roll and R&B. From the prominent guitar riffs and dynamic drumming to the soulful vocals and danceable grooves, the song is a high-energy splendor with a heaping dose of sass. Aguilera just seems so at home with this number, and it shows. You also can’t help but embrace the call-and-response element (between Aguilera and the backup vocals/instruments) that adds a playful sense of interaction to the song. 

“Show Me How You Burlesque”

You know that rush of adrenaline you get — that heart-pounding surge of excitement that crawls over every nerve in your body — when Shania Twain says “Let’s Go Girls” at the start of “Man! I Feel Like a Woman!”? Well, Aguilera manages to (nearly) conjure the same degree of euphoria when she tells us to get our asses up and show her how we burlesque. We’re up! We’re jumping on that table and we’re ready to give the crowd a show (talent or not!). 

The song, like “Tough Lover,” provides listeners with an acapella intro, which never gets old coming from Aguilera. It then immediately transitions to an upbeat tempo, creating a sense of movement and urgency. With a catchy melody, lyrics you will quickly commit to memory (despite how quickly Aguilera is spitting them from her mouth), a pop-rock edge, and some powerful belting, the song has all we can want from Aguilera plus the needed theatricality for burlesque. 

“You Haven’t Seen the Last of Me” 

The meta-ness at play during “You Haven’t Seen the Last of Me” makes Cher’s emotional delivery all the more resonant. Cher has stated that she felt a strong connection to the song; the lyrics mark the character and the icon’s resiliency and longevity in a tough industry. Featuring tender moments that capture vulnerability and building crescendos that amplify strength in the face of adversity, the song is undoubtedly the film’s most moving number. Cher, just like Tess Scali, has been down, but she always gets up again. She’ll always be “back on her feet,” earning her the title the Queen of Reinvention. 

Not to mention, prior to Burlesque, Cher had taken quite a lengthy acting hiatus, so the song only augmented her return to movie musical glory. While the movie may have failed to satisfy, “You Haven’t Seen the Last of Me” went on to snag songwriter Diane Warren the Golden Globe for Best Original Song. It’s a powerful ballad with universal appeal, making it quite the anthem for the diva whose career has spanned decades.