Tango

The dancing in this movie was wonderful to watch. The posture of the dancers amazing. The colours magnificent. I found the tale fascinating. I believe what we watched was the film being made and the story told was what the director wanted us to see, because at the end, everyone was clapping and all were friendly.It was all make believe. The tale was not to be taken seriously, it was a play within a play.

On the otherhand what happened in Argentina many years ago was true and the way the director directed this sad time was very inventive. It showed through dancing the tragic story.

My, what a delight for the senses. TANGO has it all: imagination, consonance, balance, choreographical beauty, cinematic creativity, and...the Tango. The dance is beautiful. The music complements the visual magnificence of the film. Although the MATRIX crowd will find it less than stimulating, those with a more artistic appreciation for the nature of things will find it quite beautiful.

It's not often that I will give a film a perfect review, I'm just too picky. And let's face it, there aren't many movies being made nowadays that even approach perfection. I have just had the pleasure of seeing one such film. Director Carlos Saura and cinematographer Vittorio Storaro have again collaborated on a masterpiece. Similar to their last joint effort 'Flamenco', 'Tango' is both an examination of the music and dance of the tango and, more importantly, it's role as a reflection of the human condition. Saura and Storaro have gathered these elements and taken them, and the audience, one step further. Through skillful choreography, the camera weaves it's way through a maze of mirrors, lights, projected images and some of the world's best tango artists. The audience becomes a willing dance partner with their breathtaking eye and find themselves swept into their passionate vision.

Tango may well be the greatest dance movie ever made. Its stunning dance sequences, relentless tango music (orchestrated by Lalo Schiffrin)and throbbing sexuality place this film in a class by itself. There simply has never been anything like it. And, if you have any male hormones left and do not fall immediately head over heels in love with Mia Maestro than something is definitely wrong with you. She is what Audrey Hepburn might have been had Miss Hepburn been Latin and had a spectacular dancer's figure. But the entire cast is wonderful and the lighting and color are explosive. Go see it, then take the next plane to Buenos Aires. I did.

I love this stuff. This film has weaknesses, but the ambition is so grand one can forgive, at least in deciding to watch.

The general problem is mixing film and dance. Rarely, oh so rarely is it done well. The stock choices are two: either film a dance more or less as an audience would see it, or to incorporate dance into the theatric presentation as a device. Either way, the audience is necessarily at a distance. And that's the problem: dance is human, to watch it (I'm talking about a performance here) you intimately participate in the space built and folded by the dancers. So by definition, most film/dance mixtures turn flat.

The solution here is to create an openly recursive storyline, mixing the dance as sometimes a filmed performance or rehearsal, sometimes "real" life, sometimes dreams or visions or imaginings. This combined with a never-rooted camera -- which sometimes plays the role of a character itself -- makes the audience part of the dance, and adds depth. The sets are designed to confuse: sloped floors, mirrors (used liberally) distortion, translucent screens and so on, further breaking the "performance" mold. On these terms alone, this is an intelligently conceived film.

I cannot say the same for the dancing proper. I think the film suffers from sticking too close to an Argentine palette, so the music and dance lacked breadth, and ultimately became repetitive. Whether the dancers were authentic, I cannot say. There certainly were exciting moments for me, but the dancing wasn't sufficiently vibrant to carry all of the scenes.

The Latin flavor was intriguing in the large: that the director would attempt such a self-referential conflation: national horror; angst of aging; layering of creation. Such a project would be considered outrageous in the US long before it is explored. And the Latin character was also interesting in the small: bigbottomed dancers and dumb, dependent women talking about how intelligent and independent they are.

Check this out. Not for the dance, but for a solution to filming dance.