Duree
Joined Sep 1999
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Reviews8
Duree's rating
I walked into this film knowing very little about the history of ballet in the 20th century, and though those more knowledgeable than I may quibble with facts or omissions, I can't imagine anybody who loves dance, music, or human beings walking away from this film unsatisfied.
Much of the archival footage is thrilling to watch--much of it, to be honest, is also a little bland and hard to distinguish. Nonetheless, the film as a whole is very well edited and makes wonderful use of music. Its true glory rests, however, in the beautiful, opinionated, eccentric personalities that emerge, personalities so vibrant and colorful even at 80, 90 years of age that they make the living people around one (God forgive me for saying this) seem like tattered scraps of ashen cardboard. Dance must be some kind of fountain of youth. That so many of the people central to the history of these two companies should not only still be alive, but also be SO ALIVE, is nothing short of miraculous.
The film half-heartedly tries to end on a note of hope for the future of ballet, but let's not kid ourselves: this is an elegy for an art-form that will never again be quite what it once was. And actually, the film is all the more poignant for that. A beautiful and unforgettable film.
Much of the archival footage is thrilling to watch--much of it, to be honest, is also a little bland and hard to distinguish. Nonetheless, the film as a whole is very well edited and makes wonderful use of music. Its true glory rests, however, in the beautiful, opinionated, eccentric personalities that emerge, personalities so vibrant and colorful even at 80, 90 years of age that they make the living people around one (God forgive me for saying this) seem like tattered scraps of ashen cardboard. Dance must be some kind of fountain of youth. That so many of the people central to the history of these two companies should not only still be alive, but also be SO ALIVE, is nothing short of miraculous.
The film half-heartedly tries to end on a note of hope for the future of ballet, but let's not kid ourselves: this is an elegy for an art-form that will never again be quite what it once was. And actually, the film is all the more poignant for that. A beautiful and unforgettable film.
I know the snobs and naysayers will think me a fool for saying it, but I do think its true.
Everything important is contained somewhere within the images presented here. I can't say that about "Citizen Kane," about "Vertigo," about "The Godfather," or any of the other films that often get top billing in film history. One cannot say it about "Koyannisqatsi" either.
Some of the montage does come across as editorializing, that's true. A bit heavy-handed in spots, that's also true. But some of the connections that are drawn are also very subtle. You have to watch repeatedly, and very carefully, to catch it all.
Even the ugly people look beautiful. Everywhere one looks in this film, one sees the face of God.
Patient, compassionate, and regardless of what anybody says, truly profound. See it for yourself.
Everything important is contained somewhere within the images presented here. I can't say that about "Citizen Kane," about "Vertigo," about "The Godfather," or any of the other films that often get top billing in film history. One cannot say it about "Koyannisqatsi" either.
Some of the montage does come across as editorializing, that's true. A bit heavy-handed in spots, that's also true. But some of the connections that are drawn are also very subtle. You have to watch repeatedly, and very carefully, to catch it all.
Even the ugly people look beautiful. Everywhere one looks in this film, one sees the face of God.
Patient, compassionate, and regardless of what anybody says, truly profound. See it for yourself.
