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Hårde drenge danser ikke (2001)

 -  Documentary | Biography
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An autobiographical look at almost 30 years of ballet and dance theater by dancer Eske Holm, full of archive excerpts.



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Title: Hårde drenge danser ikke (2001)

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Credited cast:
Katrine Gislinge ...
Herself - Pianist
Eske Holm ...
Himself - Host / narrator
Steen Koerner ...
Himself - Dancer
Chris Valles ...
Himself - Dancer


An autobiographical look at almost 30 years of ballet and dance theater by dancer Eske Holm, full of archive excerpts.

Plot Summary | Add Synopsis





Also Known As:

Eske Holm portrætterer sin kunst og sig selv  »

Company Credits

Show detailed on  »

Technical Specs


Aspect Ratio:

1.33 : 1
See  »

Did You Know?


The documentary features excerpts of original film recordings of a number of dance performances, including "Ildfuglen" (1974), "Leg med ild" (1974), "Pakhus 13"/"13 landskaber" (1975-1976), "I tangoens skygge" (1988), "My Heart Belongs to Daddy" (1984, 1999), "Ofret" (1999), "Narredans" (2000), "Spion i Kærlighedens Hus" (2001), and "Øjeblikkets perler" (year not given). In addition, excerpts of the instruction video "Kroppens træning og udtryk", vol. I and II (1974), are used. Graphic designs by 'Palle Nielsen' are shown, portraying Orfeus and Eurydike. See more »


My Heart Belongs to Daddy
Written by Cole Porter
Performed by Marilyn Monroe
See more »

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User Reviews

Undramatic documentary on dramatic dancing
29 August 2003 | by (Copenhagen, Denmark) – See all my reviews

Eske Holm's documentary self-portrait is a small film produced by himself in the creative environment of one of the Danish Film Institute's workshops. It works on that basic level, as a document of Eske Holm's career in which he gets to express his ideas in words as well as show some of them in action. Something which, of course, is much more suited for the film medium than for those of writing or radio.

Also on the positive side, it gives a good overview of the 30-year career in question, with sufficient detail to fit those interested in the specific details of Holm's personal story or that of Danish modern dance in general.

The film, however, is not very interesting to viewers who are not familiar with or interested in modern dance. It doesn't adequately transcend the border between narrow and general interest.

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