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The Dancer Upstairs (2002)

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A police detective in a South American country is dedicated to hunting down a revolutionary guerilla leader.

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(novel), (screenplay)
1 win & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Agustín Rejas
... Sucre
... Yolanda
... Llosa
Alexandra Lencastre ... Sylvina Rejas
... Merino
Luís Miguel Cintra ... Calderón
... Clorindo
... Ezequiel / Durán
Marie-Anne Berganza ... Laura
Lucas Rodríguez ... Gómez
... Pascual
... Marina
... Santiago
Ramiro Jiménez ... Sergeant Pisac
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Storyline

The story of Detective Agustin Rejas, a man clinging to the hope of an impossible love in an impossible world. Tracking Ezequiel, a delusional anarchist who incites the downtrodden masses to join in his brutal revolution against the fascist government in their unnamed Latin American country, Rejas finds solace in his sense of self-respect and the joy that his daughter and wife bring him. Then he meets Yolanda--his daughter's soulfully beautiful ballet teacher--a woman who sparks his long-forgotten passions and represents all that is good and all that is corrupt in their troubled country. But she, who appears to be a shelter from the storm, may in actuality be the storm's eye. Ultimately, as the revolution intensifies and the net closes around hunter and hunted alike, the dancer's truth will prove as elusive as the revolutionary's cause and the detective's peace. Written by Sujit R. Varma

Plot Summary | Plot Synopsis

Taglines:

An honest man caught in a world of intrigue, power and passion.

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for strong violence, and for language | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

| |

Release Date:

23 May 2003 (USA)  »

Also Known As:

Sendero de sangre  »

Filming Locations:

 »

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Box Office

Opening Weekend:

€100,224 (Spain), 22 September 2002, Limited Release

Opening Weekend USA:

$106,142, 4 May 2003, Limited Release

Gross USA:

$2,377,348, 21 August 2003

Cumulative Worldwide Gross:

$5,227,348, 31 December 2004
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The depiction of the dogs hanging was based on an actual occurrence where several dogs were found hanging from street lights in central Lima one December morning with profane messages denouncing Chinese leader Xiaoping Deng (who Shining Path leader Abimael Guzman thought had betrayed the communist revolution). The dynamite inserted into the dogs' bodies was based on rumors that the hanging dogs may have contained explosives, though no explosives were actually found on the dogs when they were cut down. See more »

Goofs

Throughout the film, Ezequiel also denounces Chinese Premier Xiaoping Deng. Deng ruled China from 1976 to 1989. However, when Det. Lt. Agustín Rejas browses through several women's magazines such as Glamour, he encounters "recent" pictures of models such as Josie Maran and Gisele Bündchen. Maran didn't start her modeling career until 1990, a year after Deng left office. See more »

Quotes

[first lines]
Indian 1 in Pick-up: [calmly after hitting road-side cop, about person on radio] Why does she talk so much?
Ezequiel: [equally calm] She's preparing to sing.
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Crazy Credits

The producers would like to thank ... the residents of Narcisos Street ... See more »

Connections

References Pulp Fiction (1994) See more »

Soundtracks

Pearl Curtain in the Moon
Written by Liping Wang (as Wang Liping) and Wu Ming Xiao Zi
(SSS 034CD /17; Sonoton Creative Sound Solutions)
© Sonoton Music GmbH & Co. KG
Authorized by Multimusic, S.L.
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User Reviews

 
An impressive, deep, and finely constructed movie
8 December 2002 | by See all my reviews

Javier Bardem plays a head of police in an unnamed South American country that is teetering between a corrupt government and an even more corrupt revolutionary movement. The film's preoccupations, however, are moral dilemmas and the nature of corruption, the movie's bent is primarily aesthetic, and the acting, screenplay and direction are simply little short superb. The characterisation of a man deeply torn in a search for decency and ultimately failing somewhat through his own higher aspiration is, by Hollywood standards, monumental. This is a film that is at once gripping, original, deep and subtly crafted. The role of the dancer is also, in its own right, a complex one and one which begins to address the nature of evil, the ability of art to take us beyond logic (in both a positive and a dangerous way) and also underlines that art generally, unless specifically directed, is neither good nor evil, but more a door that we can open.


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