A biography of the dancer Isadora Duncan, the 1920s dancer who forever changed people's ideas of ballet. Her nude, semi-nude, and pro-Soviet dance projects as well as her attitudes on free ...
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A biography of the dancer Isadora Duncan, the 1920s dancer who forever changed people's ideas of ballet. Her nude, semi-nude, and pro-Soviet dance projects as well as her attitudes on free love, debt, dress, and lifestyle shocked the public of her time. Written by
John Vogel <firstname.lastname@example.org>
Director Karel Reisz in 1987 prepared a Director's Cut of the film for its television broadcasts, and this version ran at a length of 153 minutes, still about fifteen minutes less than the original cut. See more »
Under-appreciated director, and undervalued screenplay,
Over the past weekend, I viewed a VHS of Isadora. Throughout the movie (and I assume this was in the script), the motif of the scarf is repeated in various ways showing that she loved scarves and billowy fabric; even if she didn't in real life, the reinforcement of the scarf (as well as her pursuit of the man driving the Bugatti), gives her death a logic and finality that "real" life cannot. Surely, Isadora's death must have been so fictional as not to be believed, as well as the fate of her children. Film-makers must craft a film in such a way that the viewer believes that every moment is true. Compare this screenplay with what Robert McKee says about writing screenplays in his incomparable book, Story, and you'll agree that the Isadora screenplay is undervalued. Also, Redgrave's performance is surely one of the finest of any era--and should have gotten the Oscar, but thankfully won at Cannes (outside the Hollywood political machine). The length of the film, to me, was no problem; the life of Isadora Duncan, could not have been shown in less. The stage scenes of her dancing were perfectly directed and illustrated how she could fill a theatre while also being rejected.
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