Of all the great ballerinas, Tanaquil Le Clercq may have been the most transcendent. With a body unlike any before hers, she mesmerized viewers and choreographers alike - her elongated, ... See full summary »
A grand and adventurous journey of discovery to the last white areas of the world map. But no matter how far we go and how hard we try to find answers, we ultimately meet ourselves and our own transience.
Per Bak Jensen,
Arman is 33 and ready to make a change, starting with a run in the park. When he literally bumps into Amélie - slightly cynical but nevertheless lovely - on the jogging path, he's dead-set ... See full summary »
A documentary portrait of the late John Wojtowicz, whose attempted robbery of a Brooklyn bank to finance his male lover's sex-reassignment surgery was the real-life inspiration for Dog Day Afternoon (1975).
Ballet Boys takes you through disappointments, victories, forging of friendship, first loves, doubt, faith, growing apart from each other, finding your own way and own ambitions, all mixed with the beautiful expression of ballet.
Of all the great ballerinas, Tanaquil Le Clercq may have been the most transcendent. With a body unlike any before hers, she mesmerized viewers and choreographers alike - her elongated, race-horse physique became the new prototype for the great George Balanchine. Her unique style, humor and authenticity redefined ballet for all dancers who followed. Amazingly, she was the muse to not one great artist but two; both George Balanchine and Jerome Robbins loved her as a dancer and a woman. Balanchine married her and Robbins created his famous version of Afternoon of a Faun for Tanny. Tanaquil Le Clercq was the foremost dancer of her day until it suddenly all stopped. On a tour of Europe, she was struck down by polio and paralyzed. She never danced again. Written by
Director, Nancy Buirski
While part of me might have wanted more gossipy details at certain points in the film, overall this is a worthy tribute. Ms. Le Clerc was already in a wheelchair when I started going to the NYC Ballet, so I never got to see her dance. The archival videos of "Tanny" in this documentary are revelatory. And there are wonderful contributions from Jacques d'Amboise and Patricia McBride as talking heads. The film reinforces what I have felt for the past 40 years: that being alive during George Balanchine's (and Jerome Robbins's and Lincoln Kirstein's) life was akin to having Mozart across town. I had SEVEN subscriptions to NYCB in the 70's and 80's, and its repertoire and dancers have made my aesthetic what it is today.
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