Isadora

Duncan was a remarkable woman who vowed never to get married [though she finally did] in an age where marriage was most women's singular goal. She may not have revolutionized The Dance, but she certainly had a strong influence on it. She openly had several lovers over the years. These ranged from a brilliant set decorator to the American heir to the Singer sewing machine fortune to a Russian Bolshevik poet. Her dance recitals enthralled audience in American and Europe. She founded several schools whose purpose was to educate children though art.

Redgrave is stunning as Isadora, and her inspired performance makes the movie well worth watching. Some viewers recommend the original version, which I own. It runs 157 minutes. I suspect, though, that this is a movie that actually benefits from some judicious editing. In the original, the Russian sequences go on and on and are filled with stereotypical views of Russian artists, performers and poets during the Bolshevik period. Up to that point, "Isadora" is quite fascinating. I feel the shorter version, which runs about 131 minutes, is more coherent. It maintains the great majority of Redgrave's amazing interpretation of Duncan.

Other memorable Redgrave movies include "Howard's End", "Julia" and "The Devils". Reisz did a wonderful directing job on "Saturday Night and Sunday Morning", "Morgan" and "The French Lieutenant's Woman".


A free spirit ahead of her time...   July 3, 2002
Cowboy Buddha (Essex UK)
The legend of Isadora Duncan seems to be gradually fading with time. But when this film was made in the 1960's, she was still very much a bright memory and her free-spirited approach to both life and her art struck a definite chord with the Love Generation. Seen today, it's still a fascinating glimpse into what was undoubtedly an eccentric and frustrating yet brilliant character. As a dancer, Isadora was unique although hardly a pivotal figure in the history of dance.

The film is always beautiful to look at - the style seems to suggest that there were many similarities between the Twenties and the Sixties. I don't know about that, but the film has a splendid period feel. The gorgeous Croatian resort of Opatija was an inspired choice to represent the French Riviera of the Twenties. A lot of attention has been paid to all the detail. Too bad, therefore, that Maurice Jarre's music seems to reflect neither the era nor the character of Isadora. But visually the film is fantastic.

Director Karel Reisz deserves much praise for making the enigmatic character of Isadora as accessible as he does. The script tries hard to illuminate her by concentrating on key events in her life rather than making a conventional biopic for this very unconventional person. But it constantly and somewhat needlessly jumps back and forth in time which is occasionally confusing. The concentration on Isadora is so absolute that the other people come and go with barely a word of introduction or explanation. Much is made of Isadora's grief over the death of her children in a car accident. But no mention is made of her Russian husband's suicide. Our view of Isadora is more impression than insight.

Even so, Vanessa Redgrave treats us to a remarkable performance - making Isadora as credible as she was outrageous. She is also surprisingly good in the dance sequences, some of which are quite stunningly staged. Redgrave's American accent may wander a bit, but she holds nothing back in baring Isadora's soul to us. It is a powerful performance.

All the other actors are truly just "supporting". Cast against type, James Fox has a great time as the extravagent designer Gordon Craig. Jason Robards, by contrast, is permanently morose as millionaire Paris Singer. As the Russian poet who eventually marries Isadora, Ivan Tchenko is full of fire and vodka. Special mention should be made of John Fraser, who plays Isadora's long-suffering secretary Roger. Fraser was a wonderful actor in some significant films of the Sixties (El Cid, Repulsion, Tunes of Glory) yet stardom somehow eluded him. He gives the second best performance in Isadora - an expertly judged mixture of devotion and exasperation.

But the film really belongs to Vanessa Redgrave and Karel Reisz. Together, they create many memorable moments. The best of these is when Isadora is dancing for an audience of Russians in those dark days just after the Revolution. Suddenly, a power failure puts the lights out. Isadora is given a lantern and someone starts to sing. Soon, everyone is singing and dancing an impromptu and emotional version of "Kalinka". The scene captures Isadora's love of dance, the Russian soul, the universal appeal of art, and everything that is good about film. We are both touched and thrilled. It is too much to expect the film to be that good all the way through.


A free spirit ahead of her time...   July 3, 2002
Cowboy Buddha (Essex UK)
The legend of Isadora Duncan seems to be gradually fading with time. But when this film was made in the 1960's, she was still very much a bright memory and her free-spirited approach to both life and her art struck a definite chord with the Love Generation. Seen today, it's still a fascinating glimpse into what was undoubtedly an eccentric and frustrating yet brilliant character. As a dancer, Isadora was unique although hardly a pivotal figure in the history of dance.

The film is always beautiful to look at - the style seems to suggest that there were many similarities between the Twenties and the Sixties. I don't know about that, but the film has a splendid period feel. The gorgeous Croatian resort of Opatija was an inspired choice to represent the French Riviera of the Twenties. A lot of attention has been paid to all the detail. Too bad, therefore, that Maurice Jarre's music seems to reflect neither the era nor the character of Isadora. But visually the film is fantastic.

Director Karel Reisz deserves much praise for making the enigmatic character of Isadora as accessible as he does. The script tries hard to illuminate her by concentrating on key events in her life rather than making a conventional biopic for this very unconventional person. But it constantly and somewhat needlessly jumps back and forth in time which is occasionally confusing. The concentration on Isadora is so absolute that the other people come and go with barely a word of introduction or explanation. Much is made of Isadora's grief over the death of her children in a car accident. But no mention is made of her Russian husband's suicide. Our view of Isadora is more impression than insight.

Even so, Vanessa Redgrave treats us to a remarkable performance - making Isadora as credible as she was outrageous. She is also surprisingly good in the dance sequences, some of which are quite stunningly staged. Redgrave's American accent may wander a bit, but she holds nothing back in baring Isadora's soul to us. It is a powerful performance.

All the other actors are truly just "supporting". Cast against type, James Fox has a great time as the extravagent designer Gordon Craig. Jason Robards, by contrast, is permanently morose as millionaire Paris Singer. As the Russian poet who eventually marries Isadora, Ivan Tchenko is full of fire and vodka. Special mention should be made of John Fraser, who plays Isadora's long-suffering secretary Roger. Fraser was a wonderful actor in some significant films of the Sixties (El Cid, Repulsion, Tunes of Glory) yet stardom somehow eluded him. He gives the second best performance in Isadora - an expertly judged mixture of devotion and exasperation.

But the film really belongs to Vanessa Redgrave and Karel Reisz. Together, they create many memorable moments. The best of these is when Isadora is dancing for an audience of Russians in those dark days just after the Revolution. Suddenly, a power failure puts the lights out. Isadora is given a lantern and someone starts to sing. Soon, everyone is singing and dancing an impromptu and emotional version of "Kalinka". The scene captures Isadora's love of dance, the Russian soul, the universal appeal of art, and everything that is good about film. We are both touched and thrilled. It is too much to expect the film to be that good all the way through.


A free spirit ahead of her time...   July 3, 2002
Cowboy Buddha (Essex UK)
The legend of Isadora Duncan seems to be gradually fading with time. But when this film was made in the 1960's, she was still very much a bright memory and her free-spirited approach to both life and her art struck a definite chord with the Love Generation. Seen today, it's still a fascinating glimpse into what was undoubtedly an eccentric and frustrating yet brilliant character. As a dancer, Isadora was unique although hardly a pivotal figure in the history of dance.

The film is always beautiful to look at - the style seems to suggest that there were many similarities between the Twenties and the Sixties. I don't know about that, but the film has a splendid period feel. The gorgeous Croatian resort of Opatija was an inspired choice to represent the French Riviera of the Twenties. A lot of attention has been paid to all the detail. Too bad, therefore, that Maurice Jarre's music seems to reflect neither the era nor the character of Isadora. But visually the film is fantastic.

Director Karel Reisz deserves much praise for making the enigmatic character of Isadora as accessible as he does. The script tries hard to illuminate her by concentrating on key events in her life rather than making a conventional biopic for this very unconventional person. But it constantly and somewhat needlessly jumps back and forth in time which is occasionally confusing. The concentration on Isadora is so absolute that the other people come and go with barely a word of introduction or explanation. Much is made of Isadora's grief over the death of her children in a car accident. But no mention is made of her Russian husband's suicide. Our view of Isadora is more impression than insight.

Even so, Vanessa Redgrave treats us to a remarkable performance - making Isadora as credible as she was outrageous. She is also surprisingly good in the dance sequences, some of which are quite stunningly staged. Redgrave's American accent may wander a bit, but she holds nothing back in baring Isadora's soul to us. It is a powerful performance.

All the other actors are truly just "supporting". Cast against type, James Fox has a great time as the extravagent designer Gordon Craig. Jason Robards, by contrast, is permanently morose as millionaire Paris Singer. As the Russian poet who eventually marries Isadora, Ivan Tchenko is full of fire and vodka. Special mention should be made of John Fraser, who plays Isadora's long-suffering secretary Roger. Fraser was a wonderful actor in some significant films of the Sixties (El Cid, Repulsion, Tunes of Glory) yet stardom somehow eluded him. He gives the second best performance in Isadora - an expertly judged mixture of devotion and exasperation.

But the film really belongs to Vanessa Redgrave and Karel Reisz. Together, they create many memorable moments. The best of these is when Isadora is dancing for an audience of Russians in those dark days just after the Revolution. Suddenly, a power failure puts the lights out. Isadora is given a lantern and someone starts to sing. Soon, everyone is singing and dancing an impromptu and emotional version of "Kalinka". The scene captures Isadora's love of dance, the Russian soul, the universal appeal of art, and everything that is good about film. We are both touched and thrilled. It is too much to expect the film to be that good all the way through.


"BEWARE OF BOAS IN BUGATTIS"   July 26, 2001
Slightly irreverent, but apt, considering la Duncan's dramatic demise [if you don't know - it is quite a moment!].

Book-ended between Isadora's final days somewhere on the French Riviera, she's obsessed with a handsome stranger driving said Bugatti; it's a remarkable tale of early 20th century feminine liberation when corsets were still de rigueur. Vanessa Redgrave stuns with her beauty and talent as the pioneering Duncan - difficult sandals to fill! Perfect casting. Equally impressive are James Fox as Edward Gordon Craig, theatrical designer extraordinaire, and Jason Robards as sewing machine millionaire, Paris Singer [both fathering Duncan's tragic offspring].

Big budget sets and costumes are unfortunately not too visible in this format, at least we do have the complete version BUT we miss the superb camera work - constant movement until the end - the stillness of the ocean .........

Peppered with intentional patches of humor [the unsightly pianist Singer provides for Duncan] and moments of utter pathos [the tormented Russian poet, Sergei Essenin - who also exited rather spectacularly from life, we're spared that.] This is another treasure from the liberated days of 1968 in need of total DVD restoration.

Footnote: Ken Russell also paid homage to Ms. Duncan in the Omnibus series "Isadora Duncan, the World's Biggest Dancer" with Vivian Pickles. Rarely seen, but both versions well worth it!