Le concours de danse

First Position (2011), directed by Bess Kargman, is an excellent film about young ballet dancers. For reasons I can't understand, as I write this review, the movie carries an IMDb rating of a dismal 6.2. How can that be? Did the viewers who rated it "1" see the same film I saw?

The movie follows seven young ballet dancers as they prepare for, and then compete in, the prestigious Grand Prix competition. As pointed out in the movie, many physical activities in which people participate involve natural movements for which the human body is well suited.

Catching a baseball, swimming, or climbing a rope are not easy, but our species has the natural physical capabilities to do these things. Ballet dancing, especially en pointe ballet dancing, is not a natural activity for us. We simply are not constructed to (literally) walk on the tips of our toes. The feet have to be trained and remodeled to allow this activity to take place. And, of course, not only do ballet dancers dance on their toes, but when they are doing this they are supposed to make their movements elegant, graceful, and apparently effortless.

Although male ballet dancers don't dance en pointe, their movements are also extraordinarily difficult. One young male dancer shows us his "foot stretcher," and tells us, "It hurts a lot."

So, serious ballet dancing requires physical traits that are extraordinary, dedication so that ballet becomes central to your life, and the capability to absorb physical pain that would be "cruel and unusual punishment" if it weren't voluntary.

Director Kargman has put together a documentary that takes us inside the lives of these young dancers. We meet their coaches, their families, and their judges. Also, of course, we go to the Grand Prix with the dancers, and we learn whether they succeed or fail.

I thought the movie was honest, creative, and balanced. These young people are not "regular kids who happen to take ballet." They are dedicated, passionate, and fanatically determined to succeed. First Position brings us into the world of ballet training, and allows us to make our own decisions about the wisdom of encouraging your child to dance and compete at this level. It's a great film. Why does it have such a low rating?

A nicely crafted documentary about six youngsters working extremely hard for the highly competitive Young American Grand Prix (YAGP) for ballet dancers aged 9-19. These focused kids are among 300 finalists chosen from 1,500 contestants from all over the world. Winners of the grand prix will receive prizes, elite dance company contracts or scholarships at top ballet schools. The film traces their hardworking daily training routine, setbacks and their hopes. We also catch a glimpse of their family life while these aspiring young men and women talk about their dreams and passion.

It is an excellent production which captures the drive and aspirations of these young people from various background – and the care of their parents, whether they are mixed couple, foster parents, in the military or ordinary Americans. What we see is not only the kid's passion, but also how their parents bend backwards and revolve their lives around their children's talents and interest.

It goes so far that a company has to move and school has to give way to home schooling so that the kids can have more time to dance. So a two- hour each way commune is nothing. Equally admirable and impressive is the trust, confidence and pride of the parents, not to mention their invaluable support. Some of these parents are dancers or musicians but whatever their experience is, they have enormous trust/belief in their kids and wholeheartedly support their children.

However, there is a fine line between them and the helicopter or monster parents who impose on their kids in the name of "for the sake of their own good." I have heard that some kids in Hong Kong are forced to learn the piano since they were young and incidents are: once the kids pass all the grade exams they never touch the piano again.

But what we see in the movie is that all the six characters have developed a genuine love and interest for ballet from within. Despite their young age and development stage, in order to strive for excellence in ballet, they are willing to give up a big part of their personal life including separating from the family, going out with friends, eating anything they want, suffer and endure various injuries etc. Their parents are just behind them.

The coaches are interesting characters too – or the director just chose the more lively coaches and to film. We can see that these coaches are also human – they can be strict and mean but they are well-liked and respected - whether they are French or Colombian or Russian or American.

The editing and directing is excellent with witty and funny dialogues or facial expressions (and they are all real!) intersperse between intense and competitive scenes. It slowly set the stage for the nerve breaking YAGP and by then we are almost part of the family of the youngsters and really hope their efforts pay off.

Like their parents and coaches, I also held my breath as the kids performed in their 5 minute appearance on stage for the Grand Prix. Competition is tough, but we can see the kid's determination, maturity and intense focus. The endurance and passion is so strong that it would overshadow the physical pain! Success does not come from luck. We also see support, respect and recognition of their potentials pay a very important role in shaping these youngsters' lives.

We witness that when you are doing something you love, even the pain will be gone and you will go on. This resilience combined with their talent speak loud and clear why they are ahead of other dancers despite their huge prices to pay.

An excellent documentary for parents, students, teachers, coaches and anyone interested in ballet/music/sports and nurturing our next generation. Highly recommended.

Produced and directed by Bess Kargman, this is a fascinating and riveting documentary.

Each year, the world's largest ballet competition is held, for young dancers ages 9-19, called the Youth America Grand Prix. In 15 cities around the world five thousand young dancers compete in the semi-finals for 300 slots in the finals in New York City.

They will get five minutes on stage, judged by directors and top personnel from some of the world's most prodigious ballet companies, to try and win scholarships or job contracts for their future careers.

As many of these documentaries are presented, seven hopefuls, with very diverse backgrounds, are followed in their preparations, training and personal lives. I found all of the competitors to be extremely interesting and it was hard to pick a favorite.

You couldn't ask more from a documentary with vivid portrayals of the young dancers and their families, as well as the suspense of the competition itself.

Remember the excellent movie "The Competition" starring Richard Dreyfuss and Amy Irving, about young pianists who compete for glory and careers? First Position likewise gives a backstage view of a prestigious competition, complete with background about their families and their lifestyles. Except First Position is a documentary, not fiction.

What a joy to follow these talented kids as they dedicate their lives to their art and their dreams. I found all of them to be likable. Some negative comments have been made about some of the parents, but they all were willing to provide whatever their children needed to pursue their dreams. One child did, eventually, drop out of dance, but it seemed his parents supported his decision.

Have you ever felt proud of someone even though you had no connection with them? Well I felt that way numerous times during this film. I am not a relative nor a teacher nor a parent. But I found myself swelling with pride for those special children who have dared to pursue a dream with such singlemindedness, yet seem to be happy and humorous. Or the child who continues to dance despite taunting from other children.

This documentary is recommended for anyone who loves dance or enjoys stories about the human will to achieve.

First Position takes a front row in my line up of competition documentaries. It's exceptional because it doesn't overdo its reverence for ballet, nor does it play on a natural sympathy for young competitors from 9 through 19 years old. It would be easy to fawn over youngsters who have only two and a half minutes to persuade judges that they are the best among hundreds of ambitious artists.

It keeps the tension of the race to the finals of the Youth America Grand Prix while it invests just the right amount of time with six selected dancers, some of whom fortuitously go to the finals and win, if not the gold , then full scholarships to dance academies, not a bad substitute at all.

The camera follows, as is tradition, the endless practices with the demanding coaches, but this time both principals and teachers seem to enjoy the process as much as the awards. There's respectful, low key camaraderie among all the competitors, coaches, and parents that is unusual for these contests and documentaries about them.

The range of contestants is the believable, not hyped part I liked so much. While cheerful ten year old Jules Fogarty clearly isn't into dance or the competition, sixteen-year old Joan Sebastian Zamora will earn a top spot at the Grand Prix finals in New York because he cares just enough. Such is the way ambition should work out in the best of all possible worlds.

Best of all the dancers, for me, is 11 year old Aran Bell, whose ambition is matched by his awesome talent with a litheness only a dancer years older could have. Michaela, originally from Sierra Leone, is the most surprising talent, given the horrors she has seen and the physical challenges she must overcome.

Director Bess Kargman, following six contestants for over a year, does simple magic with director of photography Nick Higgins, sometimes forsaking the competition footage for the more intimately personal, with arguably limited results when the winners are announced as we want to agree with the decisions. More time on stage might have enlisted our cooperation.

A case could be made for the superiority of the ballroom dance Mad Hot Ballroom, poetry team Louder Than a Bomb, horse racing's First Saturday in May, or spelling bee Spellbound because they concentrate on the intensity of the actual competition and open up criticism of the contest itself. No such negativity appears here, a weakness for those who would like the reality of disappointment and hurt to extend beyond Michaela's sore foot.

But for me, it's nice to be relaxed as we hope these young competitors still are.