Dance biopics are often disappointing because the actors playing the subject of the film can’t…well, dance. That is not a gap here. Is Oleg Ivenko as good as Rudolf Nureyev? No, and the movie even highlights that in the credits. However, he is credible and you never watch thinking “a shame the guy can’t dance.” The guy, and the company, can dance.
With that first challenge successfully won, you can watch the story. And the story is interesting. I do have to admit that the great David Hare’s (Collateral) script wasn’t quite up to his usual quality. The story meanders and isn’t particularly focused. What drives Nureyev both in dance and in life is left quite a bit to the imagination. Perhaps that’s fair. But there were subjects Hare danced around (no pun intended), and others he poured out in exposition. I’m not sure I ever really understood Nureyev or many of the people around him. By the time we get to the pivotal moment near the end, I can’t say, other than the obvious, why he or Adèle Exarchopoulos (Blue is the Warmest Color) act quite as they do.
While Ralph Fiennes (The Lego Batman Movie) directed, not to mention acted, competently, he wasn’t able to expose the subtleties of the character as cleanly for me as I’d have liked. Perhaps that was my own problem and density, but it was all a little muddled. More concerning was Fiennes handling of the timeline, which bounces through three periods trying to build out Nureyev’s character motivations. Finnes didn’t negotiate those boundaries as cleanly as he could have. It was easy to lose track of which period you were in and where it was in his life even with some cinematic clues helping.
My concerns aside, it is a story worth seeing. It’s one of the most believable portrayals of a dance giant as well as peek back at a period of history that’s worth remembering as its spectre reasserts today. Finnes likes tackling tough subjects and, as his directing chops grow, I look forward to seeing more of what he can accomplish.