6.6/10
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39 user 13 critic

White Nights (1985)

PG-13 | | Drama | 6 December 1985 (USA)
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An expatriate Russian dancer is on a plane forced to land on Soviet territory. He is taken to an apartment in which a black American who has married a Russian woman lives with her. He is to... See full summary »

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(screenplay), (screenplay) | 1 more credit »
Won 1 Oscar. Another 2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Nikolai 'Kolya' Rodchenko
...
Raymond Greenwood
...
Colonel Chaiko
...
...
Anne Wyatt
...
Darya Greenwood
...
Wynn Scott
Stefan Gryff ...
Captain Kirigin
...
Chuck Malarek
...
Ambassador Smith
Florence Faure ...
Ballerina (Death)
David Savile ...
Pilot
Ian Liston ...
Co-Pilot
Benny Young ...
Flight Engineer
Hilary Drake ...
Stewardess I
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Storyline

An expatriate Russian dancer is on a plane forced to land on Soviet territory. He is taken to an apartment in which a black American who has married a Russian woman lives with her. He is to become a dancer for the Bolshoi again, but he wishes to escape, but can he trust the American? Written by John Vogel <jlvogel@comcast.net>

Plot Summary | Add Synopsis

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A whole new motion picture experience is on the horizon. See more »

Genres:

Drama

Certificate:

PG-13 | See all certifications »
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Details

Country:

Language:

|

Release Date:

6 December 1985 (USA)  »

Also Known As:

Sol de medianoche  »

Box Office

Gross:

$13,046,465 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(70 mm prints)| (35 mm prints)

Color:

(Metrocolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The nick-name of Nikolai Rodchenko (Mikhail Baryshnikov was "Kolya". See more »

Goofs

When they are beginning their escape, Daria replaces the argument tape with the apology tape. When the tape reaches the end and flips back, playing the apology again, you see a shadow cross the player as a person hits stop and reverse on the player. See more »

Quotes

Raymond Greenwood: Don't do this! He's just a goddamn dancer!
Colonel Chaiko: Yes, I agree, not worth her life, is he? Vshtay!
See more »

Connections

Featured in The 58th Annual Academy Awards (1986) See more »

Soundtracks

Passacaglia in C Minor, BWV 582
Composed by Johann Sebastian Bach (as J.S. Bach)
Transcription by Michel Colombier
See more »

Frequently Asked Questions

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User Reviews

 
Mistakenly Underrated
13 June 2001 | by (NYC) – See all my reviews

Frankly, I don't see why everybody is so up in arms about the quality of this movie. I, for one, don't need to preface my review with a disclaimer that only its dance sequences can be enjoyed. I happen to think that it's a pretty excellent cinematographic work overall. Let me elaborate.

The camera work here is among the most original and clever out there. It's incredibly dynamic and energetic, offering unusual perspectives, delivering great close-ups, and skillfully capturing the sweeping wide spaces. An unusually large amount of footage is devoted to the city landscapes of St. Petersburg - a rarity in American flicks on Russian themes. It's all the more jarring, however, that despite attempts to ensure authenticity of the setting, at least the first couple of car rides seem to have been done in a stationary vehicle and plastered rather crudely against the city background. But this is a forgivable and almost charming flaw, considering the film's limited budget and the release year of 1985.

The film is a paradox of sorts, showcasing interesting performances from Rossellini and Hines, two actors who have since been totally under-appreciated. There's good chemistry between the impressionable and high-strung duet of Darya and Raymond. Jerzy Skolimovski (Colonel Chaiko) is the classical cunning villain with a Slavic flare. Baryshnikov himself seems a bit rigid and somewhat formulaic as Nikolay Rodchenko. That is when he's not dancing, of course. For when he dances, he unleashes all imaginable and unimaginable potential.

Obviously, the story line is sketched out in broad, exaggerated strokes. But I bet the filmmakers actually expected the overall theatricality to be taken with a grain of salt. Besides, the subject matter discussed wasn't keen on subtleties. The events depicted were behind-the-scenes operations all right, but they were as blunt and theatrically bizarre as can be. And as for those who think the circumstances and emotions of the dissidence and emigration (or defection in this case) experience are overblown - brush up on mid-20th century history and get a grip on things. Not only had the Big Brother's machinery of state control and suppression been well oiled for decades in the Soviet Union and its satellites, but the shadow of this absurd, merciless beast hangs over many of those nations still. Folks, the fictionalized account of Nikolay Rodchenko is merely a -slightly- glamorized and dramatized version of real life experience of countless victims of the era.

The scenes of Nikolay and Darya fleeing through the deserted streets of Leningrad and the subsequent humiliation they experience in front of the American embassy send chills down my spine every time I watch the movie. That threat and that danger are very real to me even though my emigration experience in the 1990s was simply peachy in retrospect and comparison. Just as disturbing and sobering, by the way, is Rodchenko's reception by the Americans and the so-called international community inside the gates. He to them is but a nimble exotic specimen...

Anyhow, let me dismount my high horse and reiterate, seconding the earlier reviews, that `White Nights' features superb, matchless dancing; and, to miss it is a deathly sin. Well, almost...

There are essentially four dance highlights in the movie. Choreography is mainly by Baryshnikov, Hines, and, very importantly, Twyla Tharp. Baryshnikov's duet with Florence Faure in the opening credits is bound to leave your breathless. It is sheer perfection - immensely inventive and impeccably executed. The second instance when you'll forget that you could blink and breathe is during the 11 rubles for 11 pirouettes number. He does it with a godly effortlessness. Hines' and Baryshnikov's dance studio number is fascinating to watch. And, then… Then, there's Mikhail's solo to Vysotsky's tape on the stage of the Kirov theatre. Its beauty is literally painful and words can never describe it.

If you haven't seen `White Nights' or haven't seen it more than once, you're denying yourself an unearthly pleasure. And you can snicker at my high-flown sighs and exclamations all you want :)


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