Acclaimed ballet dancer Vaslav Nijinsky, the "Polish peasant" who became the toast of Europe in the early 1900s, isn't very well served by this meandering biography which looks and sounds good but seems internally stultified. Nijinsky (played as a spoiled child by newcomer George De La Pena) attempts to extend his talents to the choreography of his latest showcase, under the tutelage of his lover and partner Sergei Diaghilev (Alan Bates), but cracks under the enormous pressure to be brilliant; meanwhile, a budding ballerina schemes her way into Nijinsky's arms after the star and his impresario have a romantic falling-out. Director Herbert Ross, apparently still riding the high from his 1977 ballet-themed drama "The Turning Point", has no new ideas on how to stage an electrifying or kinetic dance performance; the music direction is strong, however the magic of a timeless presentation is missing (what should have been the movie's strongest asset is in fact its weakest link). The temperament of artists in general is well-observed (if a bit over-the-top), however the love story between dancer and producer fails to come off. 1980 may still have been too early in the game to show passion between two men; Ross gives us a chaste rendering of it, followed by what seems like years of sniping and jealousy between the couple. Leslie Browne (a hold-over from "The Turning Point") never begins to suggest the cunning ambitions of a woman who hoped to 'change' Nijinsky', while the passion in that heterosexual union is confined to a single scene. What was everyone so bashful about? A brilliant little light show during the end credits is far more sparkling than anything in the rest of the film! *1/2 from ****
