The familiar tragic story of Vincent van Gogh is broadened by focusing as well on his brother Theodore, who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.
A fictionalized former President Richard M. Nixon offers a solitary, stream-of-consciousness reflection on his life and political career - and the "true" reasons for the Watergate scandal and his resignation.
During a future ice age, dying humanity occupies its remaining time by playing a board game called "Quintet." For one small group, this obsession is not enough; they play the game with living pieces ... and only the winner survives.
May is waiting for her boyfriend in a run-down American motel, when an old flame turns up and threatens to undermine her efforts and drag her back into the life that she was running away from. The situation soon turns complicated.
Harry Dean Stanton
An inside look at the world of ballet. With the complete cooperation of the Joffrey Ballet of Chicago, Altman follows the stories of the dancers, whose professional and personal lives grow impossibly close, as they cope with the demands of a life in the ballet. Campbell plays a gifted but conflicted company member on the verge of becoming a principal dancer at a fictional Chicago troupe, with McDowell the company's co-founder and artistic director, considered one of America's most exciting choreographers. Franco plays Campbell's boyfriend and one of the few characters not involved in the world of dance.Written by
Andrea Barney <andrea808@hotmail..com>
The Malcolm McDowell character, Alberto Antonelli, is heavily based on The Robert Joffrey Ballet's longtime artistic director, Gerald ("Jerry") Arpino. Like Arpino, Antonelli is an Italian American former dancer who has gone on to run a prominent Chicago dance company (the chastising speech that Antonelli gives to an Italian-American audience while receiving an award was taken nearly verbatim from an awards speech of Arpino's). Many of Antonelli's turns of phrase in the script were taken from Arpino's speech patterns, as was his habit of watching rehearsals while sitting backwards in a white, open-backed chair that was reserved only for him. See more »
At about 1:10 while counting during a rehearsal, Harriet skips the 6th count of 8. See more »
Beautiful ballet scenes with token romance plot spliced in. 6/10.
The ballet sequences are probably the most breathtaking we've seen in a fiction film. Altman succeeds in putting ballet in the fore, instead of characters or story. This was his intention, and on this front he gets a 8/10. However, where there are not ballet scenes, there is a story: Neve Campbell wrote it. And she seems not to have seen any other romance movie since the dawn of time. Its just the kind of romance subplot a little girl WOULD write: with soft lighting, flickering candlelight, a beautiful boy who does nothing wrong, listens to your problems, sleeps with you, and lets you get on with your dancing. He appears when it is convenient for both Neve and Bob Altman to insert a romantic scene: and just as gimmicky a brushstroke as this, is his entrance always being marked by the same song, My Funny Valentine. It was nice how they had four different versions of the song, for different moods: the upbeat poolhall number for their meeting, the romantic one for the seduction, and a more melancholy one when she's missing him. Anyone who knows this song (most of us), feel how gimmicky a device this is when it arrives again.
So far is this from the dramatic conflict between love and dancing in Powell and Pressburger's The Red Shoes that we're almost barren of any narrative drive or dramatic conflict at all. That's my main problem with The Company - nothing goes wrong. Or when it does go wrong (raining on the night of a performance), it always serves to improve the moment for the protagonists: indeed it is an incredible scene, Neve dancing a duet with a Joffret dancer. A moving, beautiful dance. But that's precicely the problem: there is no problem!
Malcolm McDowell is no good. He gets a C-. He tries, but its so obvious throughout that he knows not a jot about ballet, and he just walks around play-acting at a ballet coach from the movies, while the real Joffret coaches tell the dancers what they need to know. And his calling everyone "babies" is a clumsy attempt to create character through a catchphrase.
Beautiful ballet scenes, A+ for putting the dancing centre-stage, so to speak (as opposed to the tawdry melodrama called Centre Stage). But all we've got to go on narrative-wise is a thin-as-a-ballet-ribbon romance subplot. If this wasn't there, actually, it might have been a very successful art movie - but its gimmicky presence is so clumsy its a fault.
20 of 30 people found this review helpful.
Was this review helpful to you?
| Report this