thenationofartists.com

Reviewed by Elliot V. Kotek
(from the 2008 Palm Springs International Film Festival)

Director: Bertrand Normand
Starring: Alina Somova, Svetlana Zakharova, Evgenia Obraztsova, Diana Vishneva, Ulyana Lopatkina.

Opening with hues reminiscent of the dancer-dreaming paintings of Degas, Normand’s exploration of one of Russia’s most famous muses, the St. Petersburg ballerina, is at first a promising feast filled with fleet-footed fantasy. Suggesting that it will be as much an exploration of the myths as the legacies of the Russian ballet, Normand’s opening history lesson highlights the ethereal quality of these skillful superstars.

However, after inviting us into the inherently interesting admissions process of the Vaganova Ballet Academy, a veritable horse market where nubile nine-year-old limbs are stretched and presented at inconceivable angles to a selection panel more daunting than any seen in Fame, Normand lets his audience off the hook by falling back on the well-oiled documentary path of presenting a series of talking heads.

In addition to profiling teachers at Vaganova, Normand first focuses on an 18-year-old prodigy, Alina Somova, as she prepares for graduation with the hope of being accepted by the Mariinsky (Kirov) troupe whose only equal for prestige in the world of ballet remains the Bolshoi. Even though Somova expresses delight at being accepted to the Mariinsky, there is a pervasive sadness (or rather a happiness drained by nine years of a grueling training schedule) that seems to underline her situation and which simultaneously defines the old Soviet systems of schooling.

Svetlana Zakharova, 24, reared in the Ukraine, and Evgenia Obraztsova (an aspiring actress) bring fresher faces to the institutions of St Petersburg, and it is Obraztsova of whom Normand reveals the most personality. The director follows the rising star to her home and to the film set in what is really the only visual revelation in the documentary into the personal world of a ballerina. The talk of the teachers and stars refers as much to a ballet dancer’s aspirations as to their thoughts of throwing in the towel. However, the knowledge that injury or age might prematurely revert these respected artists to normality seems to make most dancers monster up the courage to continue.

Intercut with examples of their expression, the dances and dancers themselves provide a gorgeous aesthetic to Normand’s study of the ballerina. Normand may have enabled us to bear witness to Russian ballet harvesting unique qualities from each of its individual ballerinas, but, by putting only the art on show, it sorely misses the opportunity to answer our questions about these personalities. Do they eat? Do they socialize? Do they rebel? Do they have relationships with the male dancers? Do they feel privileged? Abused? Are they inspired by other dancers? By movie stars? By fashion?

At only 77 minutes, Ballerina has time up its sleeve. While the world Bertrand Normand chose to show us is magical, it’s definitely worth some extra clock to spend taking off the tutus to unveil the humanity hidden behind the cosmetics and curtains.