Pas de deux

I don't much like ballet. In fact, of all the popular dances out there, ballet strikes me as the most uninteresting and tedious. At least, that was until I watched Norman McLaren's 'Pas de deux (1968).' Suddenly, every movement seemed gentle and graceful, hypnotic and inspiring. McLaren uses optical effects to bring out the majesty of human motion, to create a dizzying duet of silhouettes, dancing a routine that slows down and transcends time and space. Utilising an optical printer to reprint images from one frame of film to the next, McLaren elegantly manipulates the typical flow of time and motion. This was an achievement with which the animator was well-acquainted. In his most famous short, 'Neighbours (1952),' Mclaren parodied the typical mechanics of movement, in which pixilation (stop-motion of live-actors) was employed to create a disorientatingly-unreal morality play – though I found that particular short to be too unsubtle and obvious to be of any real note as a war-allegory.

'Pas de deux,' on the other hand, is completely graceful is every respect. Human bodies diverge, are occasionally suspended in time, but often dance alongside their mirror-images. Finally, with perfect precision, the corresponding images fuse into one single entity, and the ballet continues. Time is a fleeting concept; once a particular moment has passed us by, it is lost in eternity and can never be retrieved. McLaren recognises movement as the chief indicator of passing moments, and so, as he toys with the movement of human bodies, he also toys with human notions of time, capturing and replaying otherwise lost moments for us to experience once again. By the film's end, the two ballet dancers are all but indistinguishable, perceived only as a blur of transitory silhouettes, moving as a subtle mist that only vaguely resembles the human form. Like translucent ghosts, the dancers perform their routine, every movement, rather than existing only for a fleeting movement, remaining on screen long enough for us to saviour its grace and dignity.

Yes, this is one of the great Canadian shorts, etc. etc.

I'm more interested in why someone could find this film boring, insisting that one had to have an interest in the dance and/or music in order to find something to like about it.

I'm not a "dance person" myself and in fact admittedly rarely have anything to do with dance performance, dance films, etc. This film is not about the dancing, though.

It's about human movement in particular, with the form of this dance being used as a means to a much more imaginative end. By utilizing dance as a mode of discovering the beauty of human grace and movement, McLaren can explore these movements in fascinating ways, using optical printing to trail print or multiple-expose their movements, using still imagery as well.

The result is an effect of three-dimensionalizing the movements (not the dancers, who are obviously already 3-D) - giving substance and shape to otherwise intangible, time-sensitive events. This film is just as incredible and breathtaking as the chrono-photographs of Etienne Jules-Marey, and in fact Pas de Deux is very much a brother of Marey's work. McLaren even lit his dancers similarly to Marey's subjects, to get an almost line-drawing effect from his subjects.

To dwell on the dance itself and whether or not you "like it" is completely missing the point of McLaren's filmmaking and artistry here. He had an incredible sense of the potential for movement and beauty, often to be found in unique and unlikely places.

See this film at all costs and try to look beyond the dance content/music content (if that bothers you), and you will hopefully find that Norman McLaren created a masterpiece in his exploration of time and motion, mined entirely from the particularly graceful movements of ballet dancers.

Wow, am I glad I decided to give this animated short feature a second look. I only last two minutes the first time and thought to myself, "Unless you are ballet dancer or big fan of ballet, this film would be almost impossible to like and sit through." Watching 13 minutes of two silhouetted-illuminated ballet dancers do their thing against a black background would be unbelievably boring.

Well, I was wrong.

Norm McClaren proves once again you don't need bold colors to make an incredible visual feast. This is black-and-white and words almost are too difficult to come by in trying to explain, without getting technical, how beautiful this film looks.

One female dancer morphs into two and then back to one several times. After about five minutes, she is joined by a male dancers and the images really get wild. I don't think I've seen two more graceful figures than these two.

I admit my mind wandered off track a couple of brief times but for most of this, I was totally mesmerized. This movie was part of the DVD "Leonard Maltin's Animation Favorites From The National Film Board Of Canada.

This one is hard to describe, Two ballet dancers perform a piece while various visual effect are added to augment the performance. Some of the effects are stunning, while others are very jarring and don't quite work. Intriguing idea that works most of the time. If you've seen "A Chairy Tale" or "Neighbours" and enjoyed them, you'll like this. But it is unusual and somewhat off-kilter at times. Recommended for those who like the unusual or special photographic effects. Bear in mind that it is over 30 years old.

The thing about this film is that yes, it is a little hard to approach. It was made in the context of the world of animation in 1968. No one had ever done anything like this before. McLaren chose the dance as the subject for his film not necessarily because he loved ballet (though I would guess he probably _did_ like ballet) but because the form of the dance very much lended itsself to the technique being employed (among other less craft-oriented and more art-oriented decisions). The technique used in this film had never been seen before. We look at it now and it seems like nothing special, but no one had ever thought of this multiple-exposure technique before McLaren. This is generally considered to be McLaren's magnum opus, and it is valuable viewing by any student of animation. Wathing it not as entertainment, though, but with an eye toward composition, staging, timing, and so on.