Nureyev

Beautiful blending of old and rediscovered film footage, interviews, comments from fellow artists, friends and followers. Part of his story is told through new dance pieces by Russell Maliphant that I found moving. After initially resisting this device, I loved it and thought: "how better to tell the story of a dancer than through dance?"

Was grateful for the historical context that enabled/ disabled his work as well as the many quotes on art and life. Inspired me to read more and try to see more.

As for non-ballet watchers, this may be a bit long. If you have any interest in ballet or GLBTQ this will engage you.

The assembly of this documentary is one of the most artistic ever produced. Where no film footage exists of all actual life events, the producers employed an interesting ballet featured interpretation of the events to keep the focus on ballet in the world of its subject matter.

It allowed a positive overview of what was probably an oppressed existence to come alive through the art form of which Nureyev lived. In some ways it might be overly positive but the essence is still maintained throughout.

While we may like geniuses, in real life, they can be difficult to know personally. This movie does convey that very well. Friendship with Nureyev had its costs.

This is one of those moments where one needs to look beyond the artist to appreciate the work. While this movie shows the cracks behind the facade of an artist,, like many other artists, the work transcends the artist who may have been a good or bad person. One must learn to separate the art from the artist if one finds the artist to be unpalatable. This is true not just in the ballet world but many other aspects of life.

Therefore, I rate this highly. Having remembered his death splashed across the newspapers, the intrigue of this artist, who had no political interest, seeking to further his art without oppression is an honest portrayal of someone being true to himself.

I saw this movie last night at a packed house in NYC. As one who started following ballet very closely during this time period, I was spellbound throughout. The unseen footage alone was worth the price of admission. I was fortunate to see almost all of these dancers in my youth. The movie covers as much of his life as one could expect in two hours. Aside from showing his sine qua non love of dance, there are insights into his romantic relationship with Erik Bruhn, a Danish contemporary who preceded him in death, and even deeper insights into his love for Margot Fonteyn, whose death two years prior to his own simply devastated him. There are brief and poignant poetry quotes throughout that are lifting and on point. There are also aspects which cover his Russian youth, his defection, his relationship with his mother and his untimely death from AIDS. The movie is to be applauded for it's handling of this final chapter of his life. It is matter-of-fact told with great sensitivity, yet not turning the subject matter into a political commentary. In the mid 70's there were one or two classical dancers who, if based on an Olympic scoring system, actually would have scored a point or two above Nureyev on a technical scale. This was not mentioned in the movie nor should it have been. It didn't matter. There was no contest when they took the stage. While other men danced the roles to perfection, Nureyev made love to and devoured them at the same time. When he took the stage, you knew it. It was like no one else. The movie was not without faults. The sound quality was south of acceptable and at other times when there was narration over footage, the music did not match up with the piece being shown. This was somewhat annoying. Nonetheless it touched me in a way I find hard to explain. That was 18 hours ago. If the documentary ran that long, I would still be in the theater.

Sad to say, but this doc was a bit of disappointment. For someone as flamboyant and fascinating as Nureyev, and who was such a larger than life character with so many potential stories to be told, I would have expected more than this confused muddle of a film. It had no cohesive message, was stylistically all over the place and then ended with a clarion call to action about fighting AIDS, which, while admirable, was only a cursory element of the story that unfolded. I emerged from the film not knowing a hell of a lot more about Nureyev than I did going in, only having my interest piqued and then cruelly unsated. As is all too often the case, the more interesting the topic, the less compelling the documentary.

A documentary on the life of Rudi is quite an undertaking. Unfortunately this effort should be called an homage because it leaves out glaring omissions on the life of the most charismatic ballet dancer of the 20th century. If you ever had a chance to see Nureyev dance in his prime, it was an unforgettable experience. His unique ability to actually change the speed of his rotations in mid air were legendary. it gave his performances a unique oomph. The discipline, the injuries, the travels and the business side were not properly explored if explained to a public who may not understand the rigors of the art form. The producers were more interested in relating to events outside of the dance world with a heavy bent on politics. That would not have been my choice. Rudi could be a cad in public, charming when needed but also a very good business negotiator. Also MIA were interviews with company/artistic directors to give color to his influence on many companies is lacking. Was he punctual? How many hours would he practice? How generous was he with his time? Did he have any quirky riders on his contracts? Finally the credits ran way too long and should have some scenes incorporated in the actual documentary/