White Nights

1985

Drama / Music

169
IMDb Rating 6.6 10 6,170

Synopsis


Downloaded 10,706 times
July 22, 2019

Cast

Geraldine Page as Anne Wyatt
Helen Mirren as Caesonia
Isabella Rossellini as Darya Greenwood
Maryam d'Abo as French Girlfriend
720p.BLU 1080p.BLU
1.12 GB
1280*720
English
NR
23.976 fps
136 min
P/S N/A / N/A
2.16 GB
1920×1080
English
NR
23.976 fps
136 min
P/S N/A / N/A

Movie Reviews

Reviewed by spam_chaconne 10 / 10 / 10

Unbelievable privilege to see Baryshnikov dance up close at his best

Baryshinikov is the one of the best male dancers of all time. This movie allows you to see him up close and view his "process" for dancing. You can't help but watch in awe at his amazing athletic and physical feats... from the very first scene where you see him slowly lower his entire body from a headstand to lying down to seeing him dance "en pointe" in what appear to be a pair of "Keds". It isn't just seeing the dances that is amazing. It is the opportunity to see the dances from the perspective of an "insider who is sitting right there next to him -- as opposed to watching him from the audience. This is dancing "eye candy" at its finest -- my favorite escape movie of all time.

Reviewed by Alenchik 10 / 10 / 10

Mistakenly Underrated

Frankly, I don't see why everybody is so up in arms about the quality of this movie. I, for one, don't need to preface my review with a disclaimer that only its dance sequences can be enjoyed. I happen to think that it's a pretty excellent cinematographic work overall. Let me elaborate. The camera work here is among the most original and clever out there. It's incredibly dynamic and energetic, offering unusual perspectives, delivering great close-ups, and skillfully capturing the sweeping wide spaces. An unusually large amount of footage is devoted to the city landscapes of St. Petersburg - a rarity in American flicks on Russian themes. It's all the more jarring, however, that despite attempts to ensure authenticity of the setting, at least the first couple of car rides seem to have been done in a stationary vehicle and plastered rather crudely against the city background. But this is a forgivable and almost charming flaw, considering the film's limited budget and the release year of 1985. The film is a paradox of sorts, showcasing interesting performances from Rossellini and Hines, two actors who have since been totally under-appreciated. There's good chemistry between the impressionable and high-strung duet of Darya and Raymond. Jerzy Skolimovski (Colonel Chaiko) is the classical cunning villain with a Slavic flare. Baryshnikov himself seems a bit rigid and somewhat formulaic as Nikolay Rodchenko. That is when he's not dancing, of course. For when he dances, he unleashes all imaginable and unimaginable potential. Obviously, the story line is sketched out in broad, exaggerated strokes. But I bet the filmmakers actually expected the overall theatricality to be taken with a grain of salt. Besides, the subject matter discussed wasn't keen on subtleties. The events depicted were behind-the-scenes operations all right, but they were as blunt and theatrically bizarre as can be. And as for those who think the circumstances and emotions of the dissidence and emigration (or defection in this case) experience are overblown - brush up on mid-20th century history and get a grip on things. Not only had the Big Brother's machinery of state control and suppression been well oiled for decades in the Soviet Union and its satellites, but the shadow of this absurd, merciless beast hangs over many of those nations still. Folks, the fictionalized account of Nikolay Rodchenko is merely a -slightly- glamorized and dramatized version of real life experience of countless victims of the era. The scenes of Nikolay and Darya fleeing through the deserted streets of Leningrad and the subsequent humiliation they experience in front of the American embassy send chills down my spine every time I watch the movie. That threat and that danger are very real to me even though my emigration experience in the 1990s was simply peachy in retrospect and comparison. Just as disturbing and sobering, by the way, is Rodchenko's reception by the Americans and the so-called international community inside the gates. He to them is but a nimble exotic specimen... Anyhow, let me dismount my high horse and reiterate, seconding the earlier reviews, that `White Nights' features superb, matchless dancing; and, to miss it is a deathly sin. Well, almost... There are essentially four dance highlights in the movie. Choreography is mainly by Baryshnikov, Hines, and, very importantly, Twyla Tharp. Baryshnikov's duet with Florence Faure in the opening credits is bound to leave your breathless. It is sheer perfection - immensely inventive and impeccably executed. The second instance when you'll forget that you could blink and breathe is during the 11 rubles for 11 pirouettes number. He does it with a godly effortlessness. Hines' and Baryshnikov's dance studio number is fascinating to watch. And, then… Then, there's Mikhail's solo to Vysotsky's tape on the stage of the Kirov theatre. Its beauty is literally painful and words can never describe it. If you haven't seen `White Nights' or haven't seen it more than once, you're denying yourself an unearthly pleasure. And you can snicker at my high-flown sighs and exclamations all you want :)

Reviewed by lannaheim 10 / 10 / 10

Dance choreographed by Twyla Tharpe -- need I say more?

I saw it when it first came out in 85 or so. Now that I am older, wiser, and have seen so much ballet and modern dance (Paul Taylor, Alvin Ailey, Bill T. Jones, DTH, New York Ballet, Miami Ballet, etc.) not to mention having seen Baryshnikov here in DC for the first performance of his "White Oak Dance Project," I can honestly say that this is one of the best films incorporating dance with a taut plotline. Isabella Rosellini's first ever appearance on film, too -- it's just so good now, I can't believe I had forgotten it. Guess that's what age and perspective does for you. Highly recommend for anyone, even if you aren't interested in dance.

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