Reviews & Ratings for
White Nights More at IMDbPro »

Filter:

Best Chronological Prolific Authors Loved It Hated It Hide Spoilers:

Page 1 of 4:

[1] [2] [3] [4]

Index

34 reviews in total

---

36 out of 43 people found the following review useful:
Mistakenly Underrated, 13 June 2001

Author: (alenchik@yahoo.com) from NYC

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 :)

---

19 out of 20 people found the following review useful:
The best ballet film ever, 15 June 1999
Author: M-19

The plot of White Nights is well-planned, the script neatly written and two relatively unknown actors as the lead men - Mikhail Baryshnikov and Gregory Hines - carry this feature well. The end result is a touching, funny drama with a romantic edge. It is, therefore, a good film in its own right. But the real reason to see it is for the spectacular dancing of Baryshnikov. I last saw the film - wait for it - in 1990 but it has remained one of the most moving films I have ever seen: so much so that it inspired me to pay a sizeable sum for the pleasure of seeing Baryshnikov dance at the Sadlers Wells Theatre in London in June 1999, 9 years later, having never thought I would have the opportunity to see my school-days hero live and in person...

Gregory Hines is a good second-lead (and has been much underused in films since), providing a sparring partner for Baryshnikov both in dance - as jazz/tap dancer vs ballet dancer - and to the benefit of the script. Isabella Rosselini plays a damsel in distress, complementing the duo and providing the romantic angle, balancing the story-line.

Overall it is a well-made film, though not the best ever, and if your interest lies about as far afield from dance as the local football field it is unlikely to appeal. But for anyone wanting to see a romantic 'weepie' it can provide a good slice of entertainment for a Sunday afternoon. And as for the dancing ... well, Baryshnikov was 37 then and I have never seen such athleticism and agility in a dancer of that age. Such expressive emotions come through his steps that he needs no words.

Without the dancing the film would undoubtedly have lost its true winning power, but with it may well have provided the motivation to dance for both children and adults ... I hope you enjoy it as much as I have

9 years later it is remains one of my top 20 best films.

---

20 out of 26 people found the following review useful:
Surprising performances by all. (RIP Gregory Hines), 12 November 2004
Author: TagSaleJunkie1 (buyit@tagsalewebsite.com) from Long Island, New York

A must for fans of Mikhail Baryshnikov, Gregory Hines (RIP) and Isabella Rossellini (possibly their best acting performances). This is a strong drama for fans of dance or heart-warming films. The dance scenes are excellent and they are incorporated into the film seamlessly.

Surprising performances by all: Baryshnikov is excellent to watch and listen to, and Hines and Rossellini are convincing as an inter-racial husband and wife struggling to survive in Russia. I was surprised in how well it was acted, and you may be surprised in how you will react to it. This is one of my favorite dramas/love stories.

This movie also gives us a dark glimpse into the life of those who are poverty stricken (lower class and outcasts) in Russia as well as giving you an idea of how well the rich and famous live. Remember, this film was made before the wall came down.

If exploding aliens is your type of movie, you may think this is a sappy film. But if you let yourself get lost in this movie (as all movie lovers should) you will really like this one.

---

15 out of 17 people found the following review useful:
Dance choreographed by Twyla Tharpe -- need I say more?, 21 January 2002

Author: lannaheim from Washington, DC

I saw it when it first came out in 85 or so. Now that I am older, wiser, and have seen so much ballet and modern dance (Paul Taylor, Alvin Ailey, Bill T. Jones, DTH, New York Ballet, Miami Ballet, etc.) not to mention having seen Baryshnikov here in DC for the first performance of his "White Oak Dance Project," I can honestly say that this is one of the best films incorporating dance with a taut plotline. Isabella Rosellini's first ever appearance on film, too -- it's just so good now, I can't believe I had forgotten it. Guess that's what age and perspective does for you.

Highly recommend for anyone, even if you aren't interested in dance.

---

14 out of 16 people found the following review useful:
Worth seeing, 3 September 2000

Author: catbird-3 from Arizona

I'm not a dance fan, but the opening ballet sequence alone is worth the price of a rental. Baryshnikov had a vertical leap matched only by Olympic high jumpers and a few NBA players. Even if the drama flags in spots, the characters are sympathetic and well-drawn, and the action/suspense is as good as that in other adventure flicks of the time. By now the movie also serves a documentary purpose, convincingly conveying the feel of life in the Soviet Union during its waning years.

---

10 out of 10 people found the following review useful:
Unbelievable privilege to see Baryshnikov dance up close at his best, 5 September 2006

Author: spam_chaconne from United States

Baryshinikov is the one of the best male dancers of all time. This movie allows you to see him up close and view his "process" for dancing. You can't help but watch in awe at his amazing athletic and physical feats... from the very first scene where you see him slowly lower his entire body from a headstand to lying down to seeing him dance "en pointe" in what appear to be a pair of "Keds". It isn't just seeing the dances that is amazing. It is the opportunity to see the dances from the perspective of an "insider who is sitting right there next to him -- as opposed to watching him from the audience.

This is dancing "eye candy" at its finest -- my favorite escape movie of all time.

---

9 out of 12 people found the following review useful:
Will Raymond Greenwood (American tap dancer who deserted the Army) help Nikolai Rodchenko (ballet dancer who defected Russia to the US) escape the Soviet Union again?, 20 May 2006

Author: (elisa.liv@gmail.com) from Mexico

The two giant and opposing nations of the Cold War, Russia and the United States of America, are represented through the protagonists of "White Nights". Gregory Hines and Mikhail Baryshnikov are two superb dancers who act in the film, and delight the viewer through artistic communication. The emotion evoked by their performances is unparalleled; feelings of despair, frustration, anger and desire for freedom are all present in their body-language. The title of the film refers to a natural occurrence, present in northern Russia: The White Nights are a phenomenon which lasts a few weeks between Spring and Summer. During this time, there is light for most the night; after sunset and during twilight, it looks white and clear... a white night. This film is truly worth watching, I own it and am glad. Not only does it possess a grand artistic value, but also a great story from a historical period in which one's life was completely controlled by political agreements. It is in this Orwellian society, that human values arise and struggle for survival... do not miss it!

---

3 out of 3 people found the following review useful:
Two Spectacular Performers Dance Around One Weak Cold War Thriller...Literally, 11 September 2006

Author: Ed Uyeshima from San Francisco, CA, USA

*** This review may contain spoilers ***

Seeing this 1985 movie (dubbed without irony by director Taylor Hackford as a "political dance thriller" in his DVD commentary) over twenty years later in a pristine new print reminds me exactly what I thought about it back then. That is that Hackford recruited two world-class dancers of completely different genres and then went about and contrived a far-fetched Cold War thriller story around them. It is really the unparalleled dancing that makes this film still watchable beginning with Mikhail Baryshnikov's extraordinary performance of Roland Petit's ballet, "Le jeune homme et la mort", opposite Florence Faure over the opening credits. His artful athleticism inevitably makes the rest of his acting feel rather pedestrian, as he unsurprisingly portrays Nikolai Rodchenko, a world-renowned Russian ballet dancer who has defected to the US after having been the leading performer of the Kirov Ballet.

Written by James Goldman, the plot has his character on a Tokyo-bound airliner that's forced to land in Siberia where KGB authorities want to detain him in order to have him stay permanently in his homeland. To help matters along, Colonel Chaiko, the chief Soviet intelligence officer, decides to have Rodchenko live with Raymond Greenwood, a black American who has defected to the Soviet Union because the pervasive racism has not allowed his own artistic freedom. Gregory Hines acquits himself admirably with this impossible role, but more importantly, it simply provides him an excuse to dazzle with his own "tap improvography" (the actual verbiage used in the end credits) in a couple of spectacular tap numbers. The two masters even get to duet twice, and instead of looking incompatible, they are quite stunning as they mesh their divergent styles fluidly.

The rest of the overly long story feels like an old episode of the 1960's TV series, "The Man from U.N.C.L.E." where Chaiko plots to convince Rodchenko to stay by reinstating him at the Kirov, which is now under the management of his abandoned lover, Gailna Ivanova. Trust issues arise between the former lovers, and yet another complicating element to his escape is Greenwood's Russian wife Darya who has not fully reconciled with her husband's U.S.-bred values and stays fearful at the possibility of leaving the Soviet Union. The events in the last quarter of the film consist of standard-issue spy thriller clichés and it all ends in a quite unbelievable manner.

Polish film director Jerzy Skomilowsky portrays Chaiko in an all-too-familiar dastardly manner. Playing Russian women, Isabella Rossellini (in her American film debut) and especially Helen Mirren are convincing, even if their decidedly secondary roles require little more than crying and expressing regrets. At certain moments and I'm sure they are quite intentional, Rossellini emits a glowing innocence similar to her mother Ingrid Bergman in her youth. The estimable Geraldine Page is wasted playing Rodchenko's agitated American manager. The soundtrack brings back nostalgic memories for me, even if the 1980's-style music makes the film feel as dated as the persistently gray images of pre-Gorbachev Russia.

The new 2006 DVD includes a relatively insightful commentary track from Hackford and a nice twenty-minute looking-back featurette which includes remembrances from Hackford, Rossellini and Mirren and a brief tribute to Hines who died in 2003. The original theatrical trailer, a piece of 80's kitsch in itself, is also included as well as previews to unrelated dance-oriented films and DVDs.

---

4 out of 5 people found the following review useful:
A good movie that could have been great, 22 January 2002
Author: JoeytheBrit from www.moviemoviesite.com

The basic plot of this movie - the predicament of a Russian defector suddenly finding himself back in his Motherland after the airplane in which he is travelling crash-lands - is a compelling one, and I can't help feeling that had a little more thought and care gone into the character of the three main protagonists this movie would have been a whole lot better than it actually is.

The performances by the international cast are excellent throughout, especially Baryshnikov, whose character is the main focus of the story, as well as the catalyst for self-analysis among those he left behind and those he encounters on his forced return. Jerzy Skolimowski, the Polish director, is also worthy of mention in a rare acting role as a KGB Agent.

So: good plot, good acting. And great dancing - even if you're not a fan, you're likely to enjoy Baryshnikov and Hines doing their thing. On the downside, the reasons for Gregory Hines defection from the USA to the Soviet Union (disclosed while holding an American football - the film's symbolism lacks subtlety at times), are shaky and under-developed to say the least, and his character comes across as too apathetic too have made such a dramatic gesture in the first place. Isabella Rossellini (a ringer for her mother) is woefully underused and is prevented from adding much of worth to the movie.

Well worth seeing, then; but the sense of how great it could have been may undermine your enjoyment a little.

---

5 out of 7 people found the following review useful:
Flawed but still a nice piece of work, 10 September 2005

Author: Seth Quinn from San Francisco

Not enough is said about Helen Mirren's superb performance as the former lover and balerina. Her Russian affectations are perfect. And nice legs too. About the flaws there are 2 major ones. First off, the whole movie was building for a grand finale in which Barishnikov will give one grand final performance never happened. Second, through out much of the movie, Hines and Barishnikov argued and bickered with each other to the point of antagonizing each other. Yes it's supposed to be clash of culture. But it went too far. Then suddenly near the end they turned lovy-dovy and cooperated. Hard to believe. If you dismiss these fau pax you will find an refreshing, intriguing movie worth sitting through more than 2 hours to see.

---

---

Page 1 of 4:

[1] [2] [3] [4]

Add another review

---

Related Links

Plot summary	Amazon.com summary	Ratings
Awards	External reviews	Plot keywords
Main details	Your user reviews	Your vote history