CineMuseFilms Historians have a way of sterilising cinema. So many words are wasted on whether a film is accurate instead of understanding and enjoying film as an artform. The Dancer (2016) is a bio-pic based on the life of Loíe Fuller who pioneered a hybrid dance performance that integrated visual spectacle and physical movement. Historians can fuss over facts, but others will enjoy what is an aesthetically intense story of creative innovation in late 19th Century Paris.The story opens with Loíe (Soko) raised by her drunken father on a farm in America. A keen reader with a vivid imagination, she dreams of a career as an actress. After her father dies, she uses money stolen from a would-be seducer to cross the Atlantic in search of fame. She stumbles upon a Parisian theatre looking for a performer to fill the stage during interval. As a talented artist with an eye for design, she conceives of a dance act that disguises her modest dancing talent and creates a dramatic serpentine performance using a costume of batons and swirling bedsheets. Her act is immediately popular. Although physically arduous, the performance evolves to using silk, coloured lights, and dramatic music, and suddenly Loíe is the toast of Paris. When the talented teenage dancer Isadora Duncan (Lilly_Rose Depp) joins the troupe, the stress of dancing on Loíe's body, her penchant to overspend, and her emerging sexual ambivalence, all begin to take their toll.This is a luscious film to watch. Its rich colour palette, top-shelf production values and unconventional characterisations create the dramatic energy which drives the narrative. Undoubtedly, it is Soko's physicality and her acting style that makes this film work. She has an almost androgynous beauty that the camera exploits; in some scenes she appears dashingly handsome, in others, sublimely feminine. With an emotive range that switches effortlessly from ingénue to sophisticate, she transfixes with her gender-free expressiveness, even under the on- screen competitive pressure of the beautiful young Isadora. The serpentine dance performances are mesmerising. They hang in a space somewhere between classical ballet, modern jazz, and a gyrating living sculpture draped in wings of silk accompanied by Vivaldi under spotlights. It's easy to understand their immense popularity as a dramatic innovation in stage performance. Above all else, The Dancer captures this spirit of excitement.Reading this film as history gets in the way of enjoying it as visual spectacle and engaging narrative. Loíe Fuller was praised by luminaries of her time, such as Yeats, Toulouse-Lautrec, and Rodin, but largely forgotten in her native country. The Dancer is a tribute to an avant-garde artiste whose legacy lives on in theatrical dance effects that have become an artform in their own right.

BebeJumeau The dance sequences were wonderful - all credit to Soko who did her own dancing, Fanny Sage who was body double to the delightful Lily Depp, and dance adviser US artist Jody Sperling a major dancer and innovative performer in her own right, whose work is excellently showcased here. I loved the intelligent and exciting re-staging of Fuller's dances and the more conceptual scene of Duncan's overtly erotic lap dance rapidly clearing multiple rooms of elderly fearful conservative white males - Kristeva meets Busby Berkley. Go to see the film for these breathtaking sequences alone It was good to see a female director tackling a female subject However the plot was inaccurate and ridiculous and clichéd in a manner that would be expected of Hollywood say in the 1950s. about 95% of the story apart from the dancing was made up. The decadent male junkie significant other and sponsor/art fund-er was an invention, the Montana/Wyoming childhood - possibly filmed in the Czech Republic was totally made up - although its nods in styling and lighting to those Europhile fantasies of the wild west - Heaven's Gate and the Hateful Eight were nice Easter eggs, the weird puritan temperance colony in New York where Fuller's on screen mother lived - adorned with a surprising amount of Catholic kitsch for a fundamentalist protestant cult - totally invented, the ignoring of Fuller's primary same-same lifestyle and the casting of Isadora Duncan as a duplicitous ambitious lesbian - All About Eve rang they wanted their plot line - makes the film down right homophobic And let's not mention the modernist myth of the outsider misunderstood genius battling through with courage and persistence ... yawn yawn yawn

mardou sarant A very beautiful film directed with vigor and taste. To classify this film as biopic does not do justice to it and it is even misleading. I read so many ill directed criticism on what is and what is not historically accurate in the movie. Who cares? Who would criticize the Greek poet Kavafy for misrepresenting historical figures in his poems? For me 'The Dancer' is a poetic film on beauty and the passion for creativity and it was a pleasure to watch. For two hours I was immersed in the film's world, relishing every bit of it; the elliptical decor, the unreal almost lighting, the spectacular dance, the energy. Indeed what I liked most was the fact that the film did not make an effort to faithfully reconstruct an era, but rather create its own unique universe combining various elements in a coherent whole. Let alone the amazing amount of work that went into it, the production design, the choreography, the music. The audacious directorial approach is justified by the result. Soko's choice to play Loie Fuller was excellent as she brought into the part her own fierce determination to develop in the show and music business matched with confident and truthful acting. The film is an amazing feat anyway, but even more so as a debut feature.

richard-1787 For the last several decades, we have had movies showing us the grime behind the apparently beautiful world of the dance. This is another in that by now too long series, one that has nothing new to add. We see lots of ugly backstage scenes, and then, very rarely, a glimpse of the beauty of a Fuller performance.Part of that is because, if one were to judge from this movie, Fuller was very much a one-trick pony. She was not, in any significant sense, a dancer. Rather, she was a show woman who figured out how to use lighting and mirrors to create a beautiful, magical effect as she twirled around waving robes extended on bamboo batons.In fact, however, the real Loie Fuller was a fascinating and very versatile woman involved in developing new lighting techniques and all sorts of other things to improve stage performance. This movie VERY much shortchanges her, and should not in any way be taken as a biopic. Why a woman director would reduce an evidently very intelligent and interesting woman to a pouting bundle of uncontrolled emotions I do not know.If you were to believe this movie - and you shouldn't - there really wasn't much to Fuller's art. Nothing like ballet, or modern dance, or jazz dancing, or ... Just twirling around, waving her robes, while different colored lights and background mirrors enhanced the effect. So we are left with her life. If it was at all as it is presented in the movie, and there is no reason to assume that that was the case, it was pretty miserable. We see that she spends lots of time building up her shoulder muscles so she can keep waving those robes, with the result that her arms often hurt. The light from the colored light hurts her eyes. She ends up in several confusing and bad relationships. A rough life, in other words. But the movie does nothing to make us care.This movie needed a MUCH better script to make us understand and sympathize with Fuller. Otherwise, except for the few moments when she goes into her dance, it's just a lot of uncontrolled emotions that we have no reason to care about. It seems a real shame to have reduced what was evidently a very interesting and intelligent woman to a bundle of uninteresting emotions.