Isadora

Showy but empty biography of internationally-acclaimed modern dance pioneer Isadora Duncan (1877-1927), played by Oscar-nominated Vanessa Redgrave. This scrapbook of memories directed by Karel Reisz attempts to pass off Isadora as an Auntie Mame in her later years (by way of Paris and San Francisco), given to gaily eccentric behavior which would lead to her demise. The film was advertised in the US as "The Loves of Isadora", shrewdly shifting the emphasis from Isadora herself to the men in her life (anything to bring audiences in); however, one might be tempted to say the movie follows suit, as Isadora's lovers--Paris Singer (Jason Robards), Gordon Craig (James Fox) and Sergey Esenin (Ivan Tchenko)--are portrayed as the fuel to her fire. This angle might have worked in a romantic-drama context were it not for the prologue which features a 12-year-old Isadora vowing allegiance to her art over love. Redgrave is neither American nor a dancer--and she can't imitate either (her exaggerated American accent has a monotone twang, as if she were speaking English phonetically). While the actress is certainly lovely--and, in performance, her long arms are eloquent and expressive--one can immediately tell director Reisz is protecting his star with the editing. The film looks beautiful, but it isn't beautifully realized. It's tumultuous and melodramatic and volatile, but there must have been more to Isadora Duncan than her craving for male companionship and her affection for the Soviets. When she's in a man's arms, staring into his eyes, it's fitting that Reisz should intercut shots of Isadora dancing alone on a bare stage, photographed from above. But when that romance is over, the filmmaker takes his diva right along into the arms of another man. A batty Isadora in her late forties complains aloud of being betrayed, while this picture--ostensibly about her--is the ironic response. **1/2 from ****

The life of Isadora Duncan, a famed artist and dancer of the 1900s to the 1920s, is explored in this film. She is embodied by actress Vanessa Redgrave and it is a match made in heaven. Vanessa wears the cloth of Isadora like a wrap, gracefully but with firm determination. We see Isadora in present day - 1927 - and also in flashbacks that show how she came into prominence. Isadora's presence and personality draws the viewer in as she herself tends to withdraw. You feel her movements throughout the film as being small but meaningful and her breaths are but wisps. Lilts. Tips. Vanessa as Isadora is hardly trying to emphasize any one thing and therefore makes the film an experience in feeling everything. A lightness permeates the film, along with the symbolism of the man driving the car that almost hit her, of whom she searches for thereafter. She does have men in her life - James Fox and Jason Robards, who's a millionaire of the Singer sewing machines empire. But they are only secondary to Vanessa. A mysteriousness and sadness encircle the life we are witnessing through losses, fights, and political views. Take in the life of Isadora - the passion, the impractical, the flighty, the will. She might be her own undoing, but she was Isadora Duncan.

Vanessa Redgrave gives a great one in this film. Though I know very little about the real Isadora Duncan it really does not matter for Redgrave is so thoroughly into her character that we think she is Duncan. Redgrave has to rank as one of the great actresses of our time.

One of the better biopics thanks in large part to a stunning performance from Vanessa Redgrave in the title role of "Isadora" and meticulous direction from Karel Reisz who obviously knew what he was doing and displayed an obvious affection for his subject. It's intelligent and it looks great and there's a fine supporting cast so with all this going for it why does it feel like a very high-class soap opera? Perhaps because all biopics can finally do nothing but reduce their subject's lives to a series of melodramatic incidents or 'highlights'. Perhaps because most famous people's lives are dull most of the time and it's only the melodramatic incidents that people are interested in. This one spins out a series of dances, (very well recreated by Redgrave), and romantic encounters with sufficient aplomb to give it an edge over most biopics. It isn't quite in the same class as Ken Russell's shorter, rawer television version but it comes close.

The bigger than life Isadora Duncan, a dancing legend, is the focus of this film. "Isadora", which came out in 1968, came and went without much fanfare. The opportunity to watch it again came when it was shown on a cable network recently. The main attraction is Vanessa Redgrave's take in the subject matter.

The biopic, directed by Karel Reisz, follows aspects of Ms. Duncan's life. One thing comes across: she was a woman ahead of her time! Her disregard for classical dance made her famous, although as shown in the film, one wonders what liberties the filmmakers took in Ms. Redgrave's renditions of works created by the famous artist.

Another thing that is clearly evident in the movie is the unhappy life of Isadora. She had no luck with anyone of her lovers. The most famous one was Paris Singer, the son of an American millionaire which ended tragically as their son and her daughter with another man drowned, something that weighed heavily on this tormented woman.

Vanessa Redgrave at the height of her beauty was magnificent in her interpretation of the troubled Isadora. Jason Robards is seen as Paris Singer, the American heir that fell in love with the dancer, but didn't seem to have much in common with her.