| Sony Pictures Classics | Release Date: April 26, 2019 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
16
Mixed:
13
Negative:
0
|
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Critic Reviews
While Mr. Fiennes plays passivity with subtlety, Adèle Exarchopoulos deploys subtlety in the service of quick wit and suppressed passion. She plays, quite beautifully, Clara Saint, the young Parisian who, in real life, befriended Nureyev during his six weeks in the French capital, and then, in the heat of that moment at Le Bourget, helped guide the intricate, perilous steps of his defection.
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There’s something about the movie that makes it all feel as though it’s being presented under glass. Nureyev is more of an idea than an actual flesh and blood character. The only time The White Crow truly shoots off sparks is during its dance sequences. For those brief, beautiful moments, you can almost feel what it must have been like to witness a one-of-a-kind artist at the spellbinding height of his powers taking flight. But then the spell is broken, and the crow falls back to earth.
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Aside from the defection scene, the only tension in The White Crow concerns whether Nureyev will achieve the renown he deserves or whether his career will be killed in the crib. That’s not nothing, but it’s small stuff to peg a two-hour movie on, especially one with an unsympathetic protagonist.
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Writer David Hare and director Ralph Fiennes have a good feel for the artistic world the story inhabits and professional dancer Oleg Ivenko does a more than creditable job in personifying one of the 20th century’s most celebrated artistic figures, but the narrative bounces all over the place trying to cover too much ground when concentrating on the core drama would have far better served the desired end.
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