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Online Store - Dancers
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List Price: $14.98
Our Price: $49.98
Your Save: $ ( % )
Availability: N/A
Manufacturer: Warner Home Video
Starring: Mikhail Baryshnikov, Alessandra Ferri, Leslie Browne, Tommy Rall, Lynn Seymour
Directed By: Herbert Ross
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Average Customer Rating:  
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Audience Rating: PG (Parental Guidance Suggested)
Binding: VHS Tape
EAN: 9786301016995
Format: Closed-captioned
ISBN: 6301016998
Label: Warner Home Video
Manufacturer: Warner Home Video
Number Of Items: 1
Publisher: Warner Home Video
Release Date: 1992-04-01
Running Time: 99
Studio: Warner Home Video
Theatrical Release Date: 1987-10-09
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Editorial Reviews:
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Film about a dance company preparing a new production of "Giselle." Julie Kent is the young dancer who becomes infatuated with the artistic director of the company, Baryshnikov, and like Giselle suffers a breakdown.
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Spotlight customer reviews:
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Customer Rating:
Summary: Definitely a guilty pleasure
Comment: Dancers is enjoyable to watch. The plot is hokey, at the very least, but it has to tie the dancing in somehow. The dance scenes are beautiful all around and when those sequences cut to the movie's plot it is dissapointing but it makes you look forward to enjoying the next dance scene.
Yes, I admit, you may be tempted to fast forward but it's not nearly as painful as The Turning Point where the dancing scenes were sparse. (Or Center Stage which was a complete waste) In this movie there are plenty of beautiful dance scenes that overall make it worthwhile. Looking forward to DVD. Overall, it is enjoyable if you love Baryshnikov and the ballet Giselle. One of the better dance movies.
Customer Rating:
Summary: Not worth watching
Comment: I'm a fan of Baryshnikov and sat down to watch all of his movies, good or bad. I'm not sure if this one was even worth watching, especially since I ended up having to own it in order to see it. I'm certainly not going to watch it again. Like other reviewers, I love Julie Kent, but we only see her dancing in the rehearsal room for a moment. I don't think she's as terrible an actress as some of the other dancers in the film, but her character is so annoyingly childlike that she comes off as a terrible actress. The same with Baryshnikov, who is a wonderful actor but was given this cheesy script to work with. Also, if you want to see him doing lots of impressive leaps and pirrouettes, rent any of his other films. The dancing is pretty, but I prefer to see him in a high energy performance where he can really show off his unique talent. And then the big finale of the movie, when the real life story of the dancers mimics the live performance of Giselle, is so forced and obvious that I wonder how this script got produced in the first place. I was expecting some subtle allusion to the Giselle story, and instead you are hit over the head with it just in case you weren't picking up on it earlier in the film. It's simply bad writing. I had the same issue with The Turning Point, made by the same people, which I think was just as bad of a movie but critically acclaimed due to the A list acting. I felt the filmmakers were trying to recreate the success of that film by copying the same formula (backstage drama + opening night + artsy metaphor to tie it all together = movie), but they didn't hire the star power and therefore couldn't pull it off this time.
Customer Rating:
Summary: DVD would be better, but tape will do
Comment: Originally created as a more permanent record of Baryshnikov's final performances of "Giselle", and as a means of capitalizing on the successful collaboration of director Herbert Ross, Baryshnikov, and ABT (the same group that did "Turning Point"), as a performance record DANCERS succeeds; as a drama it is no more credible or ludicrous than most narrative films about dancers. Which means, as usual, a silly melodramatic plot and/or love triangle is grafted onto images of rehearsals and performances so movie masses will come see a ballet film. (In this case, it's a thinly adapted version of Giselle's plot.) And like most others, I usually FF to the dance sequences and avoid the rest. (A DVD would make this much simpler.)
The best thing about this film,however,are the production values. The "Giselle" sets and costumes--fortunately still mostly in use at ABT today--are absolutely beautiful. Except for the Nureyev film, (shot on a studio set) I've never seen an ACT II as eery and beautifully lit. And as he did in "Turning Point", Herbert Ross' use of lighting (allowing 'flares')and angles(high,low, and from wings) to capture the drama of the dance is a joy that this former dancer and director greatly appreciated. Ditto, the scene of Baryshnikov alone in a practice studio--amazing dancing (still haven't seen anyone else today do that triple jete entrelace--tour jete /revoltade?) and "golden hour" lighting. It's also an example of some of the hard work/pain behind the dance.
A good Giselle has to act as well as dance and Ferri can do both. Close-ups allow us to see Giselle's mad scene progression through shock, pain and bewilderment, and that moment when she notices the forgotten sword lying there. (I love Julie Kent as a dancer, but forget the poor boo hoos in the background of this scene.) In Act II, Ferri does do the Romantic rounded arms as required in the pas de deux, and her arms in the final scene, as she reaches for Albrecht while being slowly drawn back to the grave, are very beautiful.
The Wili's extra-long Romantic "tutus"--ankle length, not calf--really contribute to the gauzy floating effect. (ABT still uses them in Les Sylphides, but unfortunately not Giselle.)
Of course, Baryshnikov's dancing is fine. And it is interesting to compare this performance with the emmy-winning video of his "Live from Lincoln Center" performance with Makarova almost ten years previously. DANCERS is a much more mature performanc: the duke, rather than the ardent lover, is much more evident in Mischa's Albrecht; however much shock/remorse is shown when Giselle dies. His Act II entrance, with that dramaticly long black cloak--borrowed from Nureyev's portrayal?--and his own invented trail of lillies at the end, are still potent reminders of his ability to command a stage "without doing anything" as Kevin McKenzie so accurately noted. It is a very controlled, commanding performance with passion but not pathos. Beautiful yes, but not heartwrending.
As for the other dancers... Yes, Victor Barbee is an excellent Hilarion who did much to raise the level of secondary roles in ABT performances. We smile at all his performances in this film, and are glad he is still at ABT to inform those who followed. Leslie Browne made three films with Ross, and is an assured dancer, and interesting if not brilliant actress. (Of course her tipsy "Turning Point" Wili remains forever in my mind as her greatest acting in "Giselle".) Give her credit for doing what many avoided--trying another difficult artform,and for the most part, succeeding. Amanda McKerrow is sadly, barely glimpsed. And I agree that Lynn Seymour's required histrionic explications of mime are annoying. Blame the script.
If DANCERS is ever released on DVD, at least it will be easier to avoid the melodrama and enjoy the dance.
Customer Rating:
Summary: A guilty pleasure for ballet lovers
Comment: Filmed at the height of the Baryshnikov-era ABT's excesses, this American Ballet Theatre vehicle has a thin plot, barely excusible acting, and is generally the sort of film that no one but the most dedicated ballet fan would watch.
But oh the dancing! Julie Kent, still a corps de ballet member is innocent and bursting with youthful energy. While her voice is a travesty, her dancing is eloquent. Misha is at the height of his powers. Leslie Browne, Alessandra Ferri, Lynn Seymour, Amanda McKerrow, and Victor Barbee are all in this gem of a film, which captures an age of ABT while I, for one, would never like to forget.
This needs to be released in DVD, post haste, before that era is forgotten to the ages.
Customer Rating:
Summary: Great Dancing, Lousy Story
Comment: I recently rewatched this movie, which I've owned for years, and I must agree with the other reviewers that the plot is absolutely
laughable, especially the scene in which Julie Kent has a mild breakdown on stage during the Mad Scene. Julie Kent is lovely and a fine dancer, but her voice is annoying and she can't act.The subplot between Wade & Nadine (Victor Barbee & Leslie Browne) is barely touched on and is much more interesting. The baby is gorgeous. I would have thought by now, though, that Barbee would have lost his North Carolina accent! It's nice to see Tommy Rall again. He was so good in Kiss Me, Kate. Lynn Seymour's scene in which she explains her pantomime is also very interesting. The dancing is outstanding from beginning to end. Victor Barbee's Hilarion is finely drawn and sympathetic, far from a villain but rather a nice guy who finishes last with a death he does not deserve. Leslie Browne, who portrays Myrtha, Queen of the Wilis, is a wonderful dancer and a very capable actress both in the ballet and in the story. I wish there had been more dancing, as there were parts of the ballet left out, including the peasant pas de deux. But take the advice that others have offered--fast forward through the story & just watch the dance.
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