Structurally, the film is all chop and change, with Hare and Fiennes tacking back and forth across Nureyev’s early years. Some viewers will find the result too fussy by half; I liked its restlessness, and the sense of a chafed and driven spirit that refuses to be boxed in.
Ralph Fiennes' mission as a one-man orchestra - to perform, direct, produce - is decorous enough to tell the story of the Soviet dancer and his efforts to gain his freedom. The rhythm with which he unfolds the plot makes it digestible even for those who do not know the art of ballet.
loved a ballet movie, the intensity of the dance and the pose, extreme human body propensity. what was surprising is that Ralph fiennes directed the show. it was aldy a pleasant eye opener to hear him in russian throughout the whole show. what a brilliant person he is, truly talented in all spectrum but almost always below the limelight.
a beautiful film and cinematography. to make it so memorable was the scene in hermitage where rudi stared at the prodigal son. exactly what i did few yrs back, standing position same awe.
There’s something about the movie that makes it all feel as though it’s being presented under glass. Nureyev is more of an idea than an actual flesh and blood character. The only time The White Crow truly shoots off sparks is during its dance sequences. For those brief, beautiful moments, you can almost feel what it must have been like to witness a one-of-a-kind artist at the spellbinding height of his powers taking flight. But then the spell is broken, and the crow falls back to earth.
An interesting, challenging mess. The White Crow offers lots that’s impressive — Ivenko as Nureyev, the dance sequences, a knuckle-whitening last 20 minutes — but can’t render it in a dramatically engaging way.
The problem is that while there are dance performances scattered throughout The White Crow, as well as interludes with a sweaty Rudy practicing and striving, the offstage scenes tend to feel like filler, the bits stuck between the barre and the theater.
Writer David Hare and director Ralph Fiennes have a good feel for the artistic world the story inhabits and professional dancer Oleg Ivenko does a more than creditable job in personifying one of the 20th century’s most celebrated artistic figures, but the narrative bounces all over the place trying to cover too much ground when concentrating on the core drama would have far better served the desired end.
Since I saw the preview I had been wondering what the title was about and it opens with the definition: Someone who is an outsider, unusual, extraordinary, unlike others. There is no denying Rudolf Nureyev was just that from his dancing and his personality. The former captured the world while the latter turned off and betrayed all those around him. Basically, he was not a nice man. The film centers around the time Nureyev who at the height of the cold war in 1961 was dancing in Paris and made the decision to defect from Russia. This was before facebook , Instagram, twitter and all the media coverage something like that would draw 24/7 but it did with what was available. Along with the defection he partnered with Margot Foynton -- though she has another name in the movie--older than he was, and already a major star in the English ballet, to both their advantages.
Ralph Fiennes directed the movie and stars as Nureyev's first major teacher. The dance scenes are excellent as is first-time actor Oleg Ivenko doing them and conveying Nureyev's look but is not quite up to the line readings though the screenwriter, David Hare, doesn't really help him with some pretty lame lines.
The biggest mistake Fiennes makes is not telling the story in a linear matter but jumps back and forth between the 1940s, 50s and 60s going from Leningrad to Paris back to Leningrad and though Nureyev was 22 when he defected we see him at many different ages which really doesn't add to the movie. The last 20 minutes, the defection scene is edge of the seat filmmaking even though the ending is well known
The movie is rated R for frontal nudity and for a change it is not female but male full nudity!
"The White Crow" is much better than I expected with an excellent cast, better dancing, and shows an artist gives everything on stage leaving nothing for relations off stage.
This is a relatively engrossing watch, with some good choreographed ballet dance performances and decent performances but the main character is less than entirely likeable, I think its fair to say and so I wasn't as intrigued by what happened to him, as I may otherwise have been. Its still interesting in terms of the culture and history of Russia and it felt a fairly well made film generally. I'd recommend this film if your particularly interested in it but it likely won't appeal to everyone (few films do, of course) but it is a somewhat thoughtful film.
Standard biopic with a very charismatic lead and good ballet sequences. Unfortunately, there aren't that many ballet sequences at all (in a film about one of the most influential dancers of the 20th century). And if you don't know who Rudolf Nurejew was (and how he basically changed ballet), the film will also not tell you all that much about him. Fiennes could have used the two hour runtime more efficiently.
So much to do, so much to work on. Art is a game of sacrifice and there goes the head of that very personality.
The White Crow
With only three and sincere films out, Ralph Fiennes should be on your list just as it is mine, if you wish to sober up with a film. He has explored various subjects, heavy subjects in these films. Something that is not usually advised or even dared. Yet, post three successful films- successful as in they're good- Fiennes remains barely high on his skills. And unfortunately that is not a compliment in here. Usually this is a good thing. But as a director you are required to be confident in your material, your characters, your film. And what is at loss here is the attention of the audience. You have to be in command of those two hours as soon as the lights shut down and the magic begins.
What is happening now, is that the audience finds itself promising for a truce to meet the storyline, the characters halfway there. That is not a commute I'd like to do. I say commute because I have been through that road a lot. So why and how does Ralph's film still manages to dance at the tip of its toe, the entire show? It is the debates. The arguments, productive and sometimes just thrilling debates, is what seduces you to do the right thing.
Or wrong thing. It is personally motivated and emotionally challenged. That is all that matters. Ralph has a spectacular way to move the audience. And for a dance themed film you would assume that it is the razzle dazzle show or the textbook training montages that will swoon you in. But remember the seduction in the film is always wrong and challenged. And so it is in the film The White Crow, not the hardworking nor the pay off, but the leisurous time that it spends more than it earns, is the logic Ralph pursues.
In 1961, acclaimed dancer Rudolf Nureyev traveled with the Kirov Ballet to Paris, where he was exposed to the art and opportunities in the free world. While there, he broke numerous rules imposed by his government and was being sent back to Moscow, when he defected. This narrative follows his awakening in Paris, but also whips back and forth to his developmental years in Russia. Sometimes the flashbacks are abrupt and without logic to the scene before, but they do provide some insight into his character development. Dancer Oleg Ivenko not only handles the acting well, his dancing is wonderful. While there's not much emotional development, the story is still fascinating. The '60s era costumes are especially attractive. In French, Russian and English with subtitles.