Ballet

A subtle, slow-paced Italian horror film --where the horror is mostly implied rather than overt-- about a ballerina who flies to Italy to try out for an exclusive ballet school and instead becomes lost in a surreal world where time stands still for a hundred year old ballet company, it's long closed theater, and it's diabolical director.

WARNING: DESCRIPTIONS CONTAINS NUMEROUS SPOILERS:

Jason (Gary McCleery), who is working for his cantankerous uncle Joshua (Charles Durning), sees the hauntingly beautiful Claire (Jennifer Connelly) as she climbs the stairs to her hotel room and drops a single ballet slipper behind her. In a Cinderella moment Jason hands her the slipper, introduces himself, and from that moment on he becomes obsessed with her to an almost unhealthy degree. Jason is so distracted by her, that he abandons his uncle in the middle of an important auction of antique clocks when he sees Claire sight-seeing in the auction hall (the clock theme is obviously a reference to the idea that time has stood still, or has become, at the very least, fluid here in this town, an idea further underscored by a scene where Jason wakes up late for work because the array of antique clocks in his hotel room all have the wrong time). In a scene which almost looks as if it was plucked (or "borrowed") from the film "Flashdance," Claire arrives for her ballet audition, looks at all the other girls nervously, peeks through the audition room door and sees how difficult its going to be, then becomes even more nervous when she hears the rejected ballerina's tearful account of how poorly she was treated. Claire freezes when they call her name and does not respond. She then gathers her things and leaves quickly. Unfortunately, in her panic and haste, she becomes lost in the theater and ends up standing in the gloom of the main stage where she puts on an impromptu performance (done by a double, not Connelly) which is witnessed by the tormented and haggard looking Marius Balkan (Laurent Terzieff). He says the name "Natalie" and Claire freezes. When he drops his cane she runs away. And so is set in motion a new and strange turn of events, where Claire becomes haunted by a past that is not her own (or is it?). When wandering the city with Jason she finds an old mansion that seems familiar. She knows exactly where the spare key is hidden and enters the house where she discovers numerous effigies of swans and paintings all of which reference "Swan Lake," the ballet which she has told Jason is her absolute favorite. The next time Jason sees her in the park by the mansion, she is sitting alone in an old fashioned dress, watching the swans swim on the pond. She no longer responds to the name Claire. And in a moment of unintentional humor, the otherwise brilliant composer Jurgen Knieper makes the most unfortunate choice to use a tremolo string motif that sounds exactly like the "Twighlight Zone" theme just as Claire reveals that her name is not Claire, but "Natalie."

From this point on the story focuses on Jason's struggle to bring Claire back to reality, and his eventual discovery that she's not, as he first thinks, confused or insane, but rather there are powerful and dark supernatural forces in play. He discovers Natalie was a dancer who died long ago after she fled a performance of "Swan Lake" and the ballet's director, Marius, has been alive for at least a hundred years. Jason must now try to save Claire from the sinister ballet.

There are many scenes in this film that could have been cut to make the movie flow better, and there are many edits within scenes which could have been made to make the flow tighter. And there is one bizarre and surreal moment during the climax of the film, which I will not reveal, which will either leave the viewer in riotous laughter from the unintentional humor of the situation, or will leave the viewer confused and ripped out of any sense of any kind of reality, or subtle sur-reality, that the film had maintained to that point.

Overall the film is pretty much a failure. It's too slow, too vague, and too unfocused in its mission. Other Italian horror directors suffer this same problem (i.e. Argento and Bava) but those directors make up for the lack of focus and clear direction by drenching their films in artistic style. "Etoile" lacks this style, and so everything rests on the shoulders of the story, and the actors. Unfortunately the story is flawed and the actors are all sorely lacking in strong direction from the director. Gary McCleery as Jason is too over the top in his obsession with Claire and comes off a little bit stalker-ish at moments. Connelly is trying to play her character as dreamy and almost childlike, but with no apparent solid direction from Del Monte she ends up looking lost in her part. Horror fans, and fans of Italian horror will probably be more likely to at least partially enjoy the experience of viewing this film, but the casual film viewer will most likely be bored to tears. Fans of Jennifer Connelly might enjoy it purely because she looks so ethereally beautiful throughout the film (her features caught here in-between her earlier "lolita" looks and her later refined beauty). And good luck finding a copy. Thus far it has only been released in Japan on VHS.

This has been getting a belated reputation (I admit to being totally unfamiliar with it prior to a recommendation from a Maltese friend of mine last week!) as a sort of dry-run for one of last year's most acclaimed films, BLACK SWAN. In fact, it similarly deals with a young and beautiful ballerina whose life is inextricably altered when she applies for the starring role of the famous Tchaikovsky opus "Swan Lake" (though here everything eventually works its way to a happy ending).

While it does not go into the psychological avenues taken by Darren Aronofsky's recent effort, the film nonetheless plays out like a Kafkaesque thriller – with the two protagonists (the hero is a likable fellow American who happens to stay on the same floor of her Budapest hotel) sucked in by a vortex of surreal events that literally transcends the passage of time! If anything, ETOILE also recalls Hitchcock's VERTIGO (1958) in equal measures, as ageing and crippled impresario/dancer(!) Laurent Terzieff moulds leading lady Jennifer Connelly (still in her Euro-fantasy phase that had kicked off with Dario Argento's typically elaborate PHENOMENA [1984] and also comprised Jim Henson's kiddie film LABYRINTH [1986]) into a prima ballerina from a past age who had perished tragically after a performance. Interestingly, 17 year-old Connelly – though she is meant to be spell-bound and, thus, also unable to recognize the young man – slips into the intricacies of her dual role much more easily than Natalie Portman in BLACK SWAN!

A dilapidated country-house also plays a central part in the 're-enactment' – where the male lead (whose life had until then been controlled by art-collecting uncle Charles Durning, who is himself mysteriously hypnotized at one point, gets violent towards his relative and hit by a passing car!) eventually goes to meet the evil head-on just as the Tchaikovsky ballet is being played out on stage. He has to fight with a giant black swan which, when he kills, Terzieff falls dead in mid-performance elsewhere! In the end, while hardly a lost classic, this is a reasonably interesting (and stylish) effort, regardless of the BLACK SWAN connotations which will probably be attributed to it from here on in

Honestly, I don't care about the plot-I just want to get lost in Jennifer Connelly's deep, soulful eyes and catch that little flash of her pointed canine teeth when she smiles. That's all I need; everything else is just icing on the cake. I absolutely love this movie-any chance they'll ever put out a 4K-restored Blu-ray edition? To me, it's a work of Italian beauty at its finest, second only to Phenomena (1985) and Once Upon a Time in America. It didn't make a bigger splash back then because of poor marketing, not poor quality. "I long to take Jennifer Connelly's hand and count the stars together."That's why I'm giving it twenty stars. Thanks!

There is a charm to this enterprise, though you must be willing to go for the journey, rather than pick holes. If you're here to see a younger Jennifer in action you will not be disappointed. I would view as a great companion piece to Phenomena, another Italian product in which she also shines. Romance, ballet, mysterious locations and people, it has them all, but it still lacks that final something that elevates a performance to the heights. A delightful curio rather than an essential watch.

Thanks to a poor script and the woeful direction of Peter Del Monte, ETOILE was a flop in 1988, never released (to this day) in the U.S. despite being filmed in English with American leading actors. Suddenly it takes on new interest as a direct forerunner of the current hit BLACK SWAN.

Jennifer Connelly, who gives a glazed performance especially compared with the all-stops-out tour de force of Natalie Portman, plays an American ballerina named Claire traveling to Budapest to further her career. She is possessed by the spirit of a ballerina from 1891 who danced her final performance there in "Swan Lake".

A chilling early scene has Claire receiving a bouquet of black flowers with a note: "Welcome back Natalie". This refers to the 1891 ballerina named Natalie Horvath, but today gives off an eerie note with the coincidence of actress Portman's first name some 22 years later in such a similar role.

Both films deal with loss of identity, but ETOILE adopts a very cornball Gothic romance style which falls flat. In fact everything about the film is flat except Connelly's torso (see her in CAREER OPPORTUNITIES made a couple of years later and you'll see what I mean). The romantic male lead Gary McCleery (whose career went nowhere) is terrible - a blank space on the screen, and an endless subplot concerning his uncle, played hammily by Charles Durning, obsessed with buying rare clocks, merely kills time.

The ballet master was well-cast with Laurent Terzieff, a wonderful, creepy looking French actor, better casting than Vincent Cassel in the new film, but unfortunately Terzieff has little to do. Similarly, scarily beautiful Olimpia Carlisi is wasted as an evil black queen figure.

In the '80s I watched all of Del Monte's films that were in fact imported to America -watching them in 35mm I can give a fair appraisal. SWEET PEA was merely cute, I greatly enjoyed INVITATION AU VOYAGE (which was an art-house flop here when released by Columbia's Triumph Films subsidiary), and JULIA & JULIA was a disaster, a millstone on Kathleen Turner's otherwise booming career at the time. With ETOILE Del Monte comes off as just another hack.