Tango

There's a scene in "Some Like it Hot" in which Jack Lemmon dances a tango with Joe E. Brown. The tune is a famous one, La Cumparasita or something like that, turned into an American pop song in the 1950s with English lyrics and named "Strange Sensations." Anyway, the dance is played for laughs. Well, it's understandable. The conventions of the tango seem so automated to someone used to other forms. But what surprised me here was the flexibility of the form, the way it is adapted to circumstances. There is, of course, a number here in which two or three dancers express intense passion, the emotion we usually associate with the tango. But there is also a number that is informed by humor. Suarez, who is about to direct a show featuring the tango, native to Argentina, is alone in his studio, talking to himself about the folly of falling in love, and he imagines a scene in which the silhouettes of two dancers perform a comic number, waggling their bottoms at the camera, the music bumping along in the background featuring a few strings and a flatulating tuba, itself an amusing instrument in sound and appearance.

Thank you for that tuba, Lalo Schifrin. As an Hispanic himself, Schifrin knows what he's doing. (He makes good use of the bandoneon, a kind of concertina, too.) There is a less-successful number that uses boots and military uniforms in an evocation of the period in the 1970s and 1980s when citizens of Argentina were "disappeared." There are tango-tinged encounters between men and others involving women, that are homosexual in effect. And sometimes there is no music behind the dances at all -- only the natural sounds of clothing rustling and soles squeaking on the wooden floor as the performers twist and turn.

Let me get back to that homosexual dance between the two women. One of them, if I got it right, is Suarez's ex wife, a superb dancer played by Cecilia Narova. The younger one is played by Mia Maestro. The dance ends with a sensuous kiss, and I can understand why another woman might want to kiss Maestro. I could understand it even if some twisted extraterrestrial whose native notion of esthetic perfection looked like the inside of an alarm clock wanted to kiss Maestro. She is egregiously beautiful, two-thirds Diane Venora and one third Audrey Hepburn, and sports what must be, even to the most jaded eye, a nearly perfect body whose movements are entirely under her own control. Her high kicks beat those of Eleanor Powell. And when her numbers freeze in tableaux, it would be perfectly okay if she just retained those balletic poses for, oh, say five or six minutes so we can burn the images into our brains. I don't think the human form and the suppleness of which it is capable has ever been displayed more elegantly. Not to put down Fred and Ginger. That's a different ballroom game.

The Spanish as spoken is appropriately Argentinian too, for what it's worth. The pronunciation is regional and so is the grammar. I say this out of complete ignorance of the language except for that which comparative linguists tell us. And a chat buddy in Buenos Aires. (Besos a vos, mi compaera).

The plot is nothing much. Abstract and arty and colorful. Saura's 8 1/2. Suarez, the benign director of a musical show, falls for Maestro. She is living with a Mafioso who is a dangerous dude, sub specie aeternitatus. But she tells the Mafioso off anyway and stalks off as he shouts after her -- "You're making a big mistake." If it did turn out to be a mistake we don't learn about it. The movie ends happily if trickily.

I want to emphasize that the dances are just about everything here. They bear about the same relationship to Lemon and Brown's tango as Fred and Ginger's superbly rehearsed dances do to the twist. There is one number by Maestro in which she does nothing but walk around slowly and strike an occasional pose. It's stunning in it simplicity and sensuousness. And in the duets, the dancers hold each other so close through so many acrobatic movements that, without stretching too much, I can imagine one false step bringing them tumbling to the floor wrapped up in each other.

The photography and lighting (by Vittorio Storaro) is superlative and the art direction equally so. Everything takes place in a carefully designed studio with mirrors and stages and painted backdrops scattered around. Sometimes we don't know if we're looking into a mirror or seeing the "real" scene. Nor can we always be sure that what we're watching is taking place in "real" life or in Suarez's imagination -- sometimes the imaginary turns into the real. But none of this detracts from our understanding of the film. The "double" structure is not simple directorial self display, nor is it just more hokum about "what's reality and what's illusion?". It adds visual texture to a film that already has more than a dozen Hollywood monstrosities could hold. It's really art, without quotation marks around it.

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.

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.

In Buenos Aires, the director Mario Suarez (Miguel Ángel Solá) is developing and rehearsing a tango play with historical events as background. Mario misses his mate Laura Fuentes (Cecilia Narova), who has recently left him, and is recovering from a car crash with an injured leg. When the major investor Angelo Larroca (Juan Luis Galiardo) asks for an audition for his lover Elena Flores (Mía Maestro), she succeeds and participates in the play; however, Mario falls in love for her and Elena fears the dangerous Angelo.

I saw "Tango" for the first time on 01 January 2001; I have just watched it again and I still believe it is one of the most wonderful tributes to the tango. Carlos Saura uses the concept that history is indestructible and recalls the dark years of military dictatorship in Argentina after the amnesty entwined with a passionate love of a middle-aged man for a young woman to build the plot, supported by stunning cast, choreography, music score and lighting. However, the conclusion is confused and disappointing, and I really do not understand the relationship of Angelo and Mario acting like pals in the last scene. Cecilia Narova and Mía Maestro are extremely beautiful and fantastic dancers, and I do not get tired of seeing them dancing tango. My vote is seven.

Title (Brazil): "Tango"

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.