Word: tangoes
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...Wheeldon can do much more than conjure up spun-sugar fantasies. The witty Soiree Musicale, which the school premiered last year, for instance, contains a show-stopping tango in which a femme fatale picks up new partners one by one, eventually dancing with a dozen admirers simultaneously. And Corybantic Ecstasies, given its premiere in March by the Boston Ballet, is a tough-minded, tautly argued work that shows off Wheeldon's ability to infuse the disciplined language of classical ballet with high emotion...
Scenes such as those from a majestic company tour of India and of an opening night performance in New York make the dancers' excitement and energy almost palpable. Fantastic productions and crisis situations seem to be all in a day's work. The film even tracks a tango-inspired ballet, "Piazzolla Caldera," from initial inspiration to final fruition. Director of photography Tom Hurwitz does a superb job of transporting the audience from intensive rehearsals to exhilarating shows...
Although its finale lacks intensity, Tango remains an innovative exploration of human passion through the expressiveness of dance. A refreshingly creative piece full of effective imagery and irresistible music, it captivates and draws the viewer into the very depths of the world of the tango...
...music of the tango brings to mind forgotten memories of the past, the haunting of the soul. It whispers seduction amidst shadowy figures in a dim and smoky room. Tango acknowledges and effectively uses these images, but it also creates a stylized, occasionally surrealistic atmosphere that carries the tango beyond its conventional setting. This highly theatrical effect is achieved by the creative talent of Italian cinematographer Vittorio Storaro, three-time Oscar winner for best photography in films such as The Last Emperor. The music is a combination of traditional tango music by famous Argentine composers and several original pieces...
...Tango is striking example of how a film can grasp an audience's attention with very little definitive action. A good sized portion of the film consists of dance numbers, in which Storaro takes advantage of the studio setting to use shadow, silhouette, distorted mirrors and moody lighting gels to create a dreamlike, often unrealistic effect. In the empty studio, Mario plays out his romantic fantasies and nightmares, always leaving a tinge of uncertainty as to what is real and what is imagined. Into this world Mario draws the other characters, helplessly entangled as their emotions become prey...