Nijinsky is a 1980 American biographical film directed by Herbert Ross. Hugh Wheeler wrote a screenplay that explores the later life and career of Vaslav Nijinsky; it was based largely on the premier danseur's personal diaries (abowdlerized 1936 version was edited and published by his wife, Romola de Pulszky), and her 1934 biography of Nijinsky, largely ghostwritten by Lincoln Kirstein, who later co-founded the New York City Ballet.
| Nijinsky | |
|---|---|
Theater poster
| |
| Directed by | Herbert Ross |
| Written by | Hugh Wheeler Romola Nijinsky Vaslav Nijinsky |
| Produced by | Nora Kaye Stanley O'Toole Harry Saltzman |
| Starring | Alan Bates Leslie Browne George de la Peña Alan Badel Colin Blakely Carla Fracci |
| Cinematography | Douglas Slocombe |
| Edited by | William Reynolds |
Production | Hera Productions |
| Distributed by | Paramount Pictures |
Release date |
|
Running time | 129 min. |
| Country | United States |
| Language | English |
| Box office | $1,047,454[1] |
The film suggests Nijinsky was driven into madness by both his consuming ambition and self-enforced heterosexuality. He became involved with Romola de Pulszky, a society girl who joined impresario Sergei Diaghilev's Ballets Russes specifically to seduce Nijinsky. After a series of misunderstandings with Diaghilev, who is both his domineering mentor and possessive lover, Nijinsky succumbs to Romola's charms and marries her. After this, his gradual decline from artistic moodiness to a diagnosis of schizophrenia begins.
Reception to Nijinsky is mixed. On the review aggregator website Rotten Tomatoes, 50% of 8 critics' reviews are positive, with an average rating of 4.5/10.[3]
In his review in Time, Richard Schickel opined, "Some people will be titillated by the openness with which homosexual love is portrayed in the film. But this is mostly a slow, cautious biography, elegantly attentive to Edwardian decor and dress. It slights Nijinsky's melodramatic story and, finally, offends with its relentless reductionism. There are times when excesses of good taste become a kind of bad taste, a falsification of a subject's spirit and milieu. This is never more true than when the troubles of a genius are presented in boring and conventional terms."[4]
Time Out London calls it "the best gay weepie since Death in Venice … the first major studio film to centre on a male homosexual relationship (albeit a doomed one) without being moralistic … director Ross and writer Hugh Wheeler … do right by their male characters (Alan Bates, in particular, is a plausibly adult Diaghilev), their grasp of the historical reconstructions seems more than competent, and their dialogue and exposition are unusually adroit. Best of all, they never show ballet for its own sake, and have the courage to keep emotional dynamics in the forefront throughout."[5]
Channel 4 says, "What could have been a powerful period drama quickly descends into soap opera territory … but it's always watchable, and director Ross … laces the action with some well-choregraphed dance."[6]
Director Tony Richardson, who had intended to direct the planned 1970 film on Nijinsky, considered this 1980 film a "travesty".[7]
{{cite journal}}: Cite journal requires |journal= (help)