“Swan Song” – An end and a beginning [MOVIE REVIEW]
Karen Kain was the much beloved and lauded prima ballerina of the National Ballet of Canada. She followed up her dancing career by becoming its Artistic Director. Announcing her retirement, she was determined that she would not go gentle into that good night, by declaring that her last act would also be a first. She would choreograph and mount a new production of “Swan Lake.” Filmmakers Chelsea McMullan and Sean O’Neill, looking for a project, decided that filming Kain’s farewell act for the ballet was perfect. In an ironic stroke of luck, the ballet, originally scheduled for June 2020, was put on hold, allowing the team to raise the funds necessary for the kind of film they envisioned. This serendipitous delay helped them conceive of this excellent and exciting documentary highlighting the young dancers, the stars and would-be stars, ending in highlights of the colorful, exacting and engaging ballet, one that we will have witnessed in the making.
Wanting to make as realistic a film as possible, they asked for and got unfettered access to the dancers and production staff. By choosing a select coterie of dancers, they were able to follow them both inside the studio and out. They edited down hours and hours of raw footage showing this small group of competitive dancers as they rehearsed the new choreography and discussed their aspirations for promotion up the ladder to soloists and principals. McMullan and O’Neill bring us inside the rehearsal space as the corps is led through their paces as young swans, drilled incessantly on their technique and coordination. It is a grueling process and these young women and men give more than seems imaginatively possible.
Jurgita Dronina as the Black Swan. All photos courtesy of Greenwich Entertainment
The star is Jurgita Dronina, a renowned principal ballerina who has performed with many international companies and is privileged to be the first among firsts to perform Kain’s Swan Lake on the gala opening night. Dronina, as we shall learn, has been plagued with injuries, a not uncommon phenomenon for dancers, and is pushing herself through pain. We will also meet some of the younger members of the ensemble, each with her own psychological and/or physical ills that must be overcome. When one of their group is elevated above them, given her first Swan Queen, there is much discussion, illustrating both the envy and happiness they share about her promotion.
The career arc of Karen Kain is illustrated, one where she shot to fame when partnered with Rudolf Nureyev in the early 70s. Archival footage shows the two of them party hopping in New York where anyone who was anyone dropped by Andy Warhol’s place. Dazzled by the aura, she, in turn, dazzled Warhol who painted her. At the peak of her career, ballets were created for her and she danced all the great classical roles. She brought attention to the company with her brilliant performances but her lasting mark has been as the artistic director, something that is celebrated in this film.
The corps de ballet.
The rehearsals are body numbing but the young dancers are determined to make their marks, be noticed for their excellence and climb the ranks. As will become apparent from the “up close and personal” style of the filmmakers, not all will make that leap. Ballet is as much physical as it is mental and it is a weakness in the latter that is the stumbling block for many.
McMullan and O’Neill use a cinema verité style, allowing them to be invisibly present at all times. You, the viewer, experience everything as though you are present in the home, at the barre, drinking coffee and gossiping among friends. A critical discussion between the ethnically and racially diverse dancers and costumers reflects today’s awareness and sensitivity to identity, all within the bubble of pink tights and pink toe shoes on dark dancers. And all the while they are preparing for Kain’s final farewell with Dronina dancing the role that made Kain famous. As a lover of dance, I remember a conversation I once had with an Alvin Ailey dancer. She said that she would dance for free rather than give it up. It is that kind of passion that is felt by the dancers profiled in this film.
The scenery, the organizational meetings, the choreographic consultations, the archival footage of dances and dancers past are wonderful. But it is the dissection of the ballet itself, the analysis of white swan Odette, black swan Odile and villainous sorcerer Baron von Rothbart, as the true love of Prince Siegfried is put to the test, that shines. Even those who profess a dislike of classical ballet will be entranced by the inner workings of the showmanship onstage and off.
Beauty thy name is the National Ballet of Canada.
Opening August 5 at the following Laemmle theaters: Monica Film Center, Glendale, Town Center and Claremont. Streaming now on all digital platforms..