As a movie enthusiast who adores delving into the lives of creative minds, I must say that the biopic “John Cranko” stands out as one of the most compelling portrayals of a choreographer I’ve ever seen. Unlike many other films in this genre, it avoids the typical ‘Eureka!’ moments and instead presents a unique perspective on how a relentless artist’s mind functions. This is accomplished by seamlessly merging dance concepts that exist within Cranko’s imagination into the everyday scenes portrayed on screen. Sam Riley delivers an exceptional performance in the title role, and this visually stunning production is filled with top-notch dance performances throughout. “John Cranko” serves as a reminder of a figure who had an international rise but was tragically cut short by his untimely death at 45 in 1973. This film should rekindle interest in this remarkable artist whose story deserves to be told.
Lang focuses on the years of Cranko’s professional growth with the Stuttgart Ballet, a stage he reached following some significant events. After relocating to London in 1946 for more dance training and opportunities, he rapidly gained recognition, landing the role of resident choreographer at Sadler’s Wells Theatre Ballet (later known as the Royal Ballet) at only 23 years old. His achievements weren’t confined to ballet, extending to directing operas and revues as well.
1959 saw him being apprehended by a covert law enforcement agent on charges of “homosexual conduct.” This humiliating incident escalated into a public controversy, making him an unwelcome figure, and effectively halting the progression of his career.
The movie starts in 1960, with him being invited to present one of his pieces for the Stuttgart Ballet. Despite concerns about his tarnished image in England, he’s reassured by Walter Erich Schafer, the organization’s head, “there won’t be any issues here.” This first partnership is a success, and he’s promptly offered the artistic director role – a position that requires replacing the incumbent, his friend Nicholas Beriozoff. After much deliberation, he decides to take it on.
Although he’s young and lacks a solid professional background, this individual exhibits an eccentric, demanding, capricious, and obstinate nature. He works only in his unique way or not at all, which often creates friction when he butts heads with the resident prima ballerina who rejects his choreography as “not my style.” Surprisingly, he then pushes to replace her with Marcia Haydee (Elisa Badenes), a Brazilian dancer that others aren’t excited about. In many instances, his questionable decisions lead to outstanding outcomes, which proves true in this case as well.
17 years ago, Riley resembles the intense Ian Curtis from “Control,” but now he’s at the complete opposite end of the spectrum. He’s cherished by his dancers and can be challenging for others. Cranko was a complex mixture of traits: kind, lively, prone to depression, highly cultured with a fondness for unsophisticated pursuits, capable of producing focused work after consuming an amount that would render a lesser individual incapacitated.
This character often displays instances where he harshly criticizes his closest associates, only to apologize sincerely later on impulsively. He deeply regrets his lack of a long-term companion, and it’s easy to understand why – his mood swings from extreme highs to lows would test anyone’s patience. He primarily resides with other dance couples, mostly as a precaution against his excesses. Riley delivers an incredibly dedicated performance that makes these conflicting traits appear as if they are inherent rather than exaggerated. We find it equally convincing that this character speaks German fluently and generates choreographic ideas effortlessly.
The creative mind of Cranko is depicted in a unique and organic manner throughout the movie, giving us insights into his thought processes as he visualizes dancers experimenting with ideas, whether it’s during rehearsals or casual moments like sitting on a park bench. An impressive scene showcases a conversation between Cranko and talented set designer Jurgen Rose (Louis Gregorowicz) about the upcoming “Romeo and Juliet,” where the room is filled with performers enacting Tybalt’s death scene, repeatedly pausing and resuming as Cranko refines his vision. While some scenes of Cranko’s achievements like “Onegin,” “Initials” and “Traces” primarily consist of stage montages that offer limited perspective on the entire piece, the film stands out for its consistent focus on capturing the whole body in motion. Unlike music videos with fast editing or camera work that break dance into fragments, this movie maintains a steady flow without such hyperactivity.
Cranko’s transformation of the company into a global powerhouse became known as “the Stuttgart Miracle,” culminating in successful performances at renowned dance venues around the world, including New York. The movie, penned by Lang, portrays this rise to fame while keeping a close eye on the main character’s mental and physical wellbeing. At several critical junctures, he contemplated suicide, which was even speculated about after his actual death. It’s somewhat surprising that the film doesn’t make clear that his death during a return flight from an encore U.S. tour was actually an accident, caused by an adverse reaction to a sleeping pill.
The script has some annoying holes, such as Cranko’s longing for a past lover he believes could have been “the one.” However, we don’t know much about this character (played by Gerrit Klein as Alexander) to understand why he was so significant. The choice to skip over the protagonist’s earlier life generally works, but a few brief flashbacks to childhood traumas leave us with many unanswered questions that might have been better left out entirely. As an adult, he often complains about negative reviews, yet we never get any idea of what specifically the critics disliked.
In his production, “John Cranko” delivered an abundance of excitement both onstage and off. However, it fell short in reaching a climactic emotional high point. As it neared the two-hour mark, the performance seemed lengthy, culminating in a prolonged credits sequence showing the actors alongside their role models who are still alive. Despite these minor drawbacks, Cranko’s work effectively showcased the intricacies of his character, his creative journey, and the international dance scene from 50 to 60 years ago, making it a significant achievement overall.
Working closely with the current Stuttgart Ballet and guardians of the subject’s legacy, the film boasts impressive physical assets, surpassing the exceptional dancing performances themselves. Primarily shooting in original locations, Philip Sichler’s cinematography exudes elegance and soft, pastel tones without becoming overly picturesque. While Walter Mair provides a touch of transitional scoring, most of the music heard is well-known classical pieces by composers such as Brahms, Britten, Verdi, Tchaikovsky, Prokofiev, and others, all newly recorded by the Stuttgart State Opera Orchestra.
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2025-01-10 03:47