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United Kingdom released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), SPECIAL FEATURES: Interactive Menu, Scene Access, SYNOPSIS: Britain's Bryan Forbes and France's Pierre Jourdan collaborated on the direction of the feature-length documentary I Am a Dancer.Rudolph Nureyev, the celebrated Russian ballet star who defected to the West in 1961, is the subject of the film. Seldom sitting still long enough to be interviewed for the camera, Nureyev prefers to let his dancing do his "talking." Forbes and Jourdan follow Nureyev from rehearsal hall to performance, alone and with his equally famous partner Margot Fonteyn. Originally produced for British television, I Am a Dancer was released theatrically in the US. SCREENED/AWARDED AT: Golden Globes, ...I Am a Dancer ( Un danseur: Rudolph Nureyev )
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3 of 9 people found the following review helpful
Format:DVD|Amazon Verified Purchase
In France, the VHS copy of this same title contains an important difference of four additionnal minutes.
Can we suppose that a cut has been done for the sequence with the music of Stockhausen ? Was it too sensual for the censors ? What a shame if something has been cut.
Can we suppose that a cut has been done for the sequence with the music of Stockhausen ? Was it too sensual for the censors ? What a shame if something has been cut.
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4 of 4 people found the following review helpful
Electrifying Nureyev
27 Mar 2009
I went to a lot of trouble to view this DVD. I purchased it from a European site and had to pay someone to convert it to a format that would be viewable on my equipment. It was worth every penny. I've watched it numerous times and it never fails to thrill. It begins with a discussion of Nureyev the dancer as we watch him at the barre in a class filled with women. He is the only male, yet his adrogynously beautiful form fits in with the other shapely class members. You can see that part of the impact of his dancing is the feminizing of his style: his turnout, his exaggerated poses are carried out with absolute grace, power and control by his unusually voluptuous body. It's stunning to see him simply execute his exercises. Sweat drips from his fingertips, and it's apparent that his work on stage is "sprayed with blood".
Then he appears in a drop dead excerpt from La Sylphide with Carla Fracci. It's hard to decide who is more beautiful - Nureyev or Fracci, they're both such exquisite dancers with such magnificent technique. This is the real highlight of the film. The dancing is so impressive and of such perfection that I can't tire of it. Utter masters. This is an opportunity to see his virtuosity and dramatic gifts in action.
Next a modern piece choreographed by Tetley. Again, his dancing is remarkable, and an unashamed eroticism is unleashed in the leotarded bodies of Nureyev and his partner, Deanne Bergama.
Some less exciting moments follow in Marguerite and Armand, choreographed by Ashton for Nureyev and Fonteyn. A lot of posturing and more drama than dance. Still, this may be the only opportunity to view this ballet.
Last, Sleeping Beauty with the plumply divine and delicious Lynn Seymour. I love her and think they're a wonderful pair. Their expressiveness and organic sensuality is a witness to a bygone era in dance. Their performance bears witness to the truth that great dancers aren't just about technique - they have to have outstanding personalities that project to the back of the house.
The film ends with some iconic footage of Nureyev leaving via the stage door, swatting delirious fans with a long stemmed red rose as he makes his way through the hysterical crowd.
An extraordinary document for anyone who appreciates Nureyev in his prime and an era of great dancing that is lost forever.
Then he appears in a drop dead excerpt from La Sylphide with Carla Fracci. It's hard to decide who is more beautiful - Nureyev or Fracci, they're both such exquisite dancers with such magnificent technique. This is the real highlight of the film. The dancing is so impressive and of such perfection that I can't tire of it. Utter masters. This is an opportunity to see his virtuosity and dramatic gifts in action.
Next a modern piece choreographed by Tetley. Again, his dancing is remarkable, and an unashamed eroticism is unleashed in the leotarded bodies of Nureyev and his partner, Deanne Bergama.
Some less exciting moments follow in Marguerite and Armand, choreographed by Ashton for Nureyev and Fonteyn. A lot of posturing and more drama than dance. Still, this may be the only opportunity to view this ballet.
Last, Sleeping Beauty with the plumply divine and delicious Lynn Seymour. I love her and think they're a wonderful pair. Their expressiveness and organic sensuality is a witness to a bygone era in dance. Their performance bears witness to the truth that great dancers aren't just about technique - they have to have outstanding personalities that project to the back of the house.
The film ends with some iconic footage of Nureyev leaving via the stage door, swatting delirious fans with a long stemmed red rose as he makes his way through the hysterical crowd.
An extraordinary document for anyone who appreciates Nureyev in his prime and an era of great dancing that is lost forever.
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