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Nijinsky: The Diaries of Vaslav Nijinsky (2002)
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Reviews Counted:30
Fresh:18
Rotten:12
Average Rating:6/10
Theatrical Release:May 29, 2002 Limited
Synopsis: In this biographical interpretation of the life of Russian dancer and choreographer Vaslav Nijinsky, one of the most influential performers of the early 20th Century, Australian director Paul Cox... In this biographical interpretation of the life of Russian dancer and choreographer Vaslav Nijinsky, one of the most influential performers of the early 20th Century, Australian director Paul Cox enlists the dramatic voice narration of Shakespearean actor Sir Derek Jacobi to read Nijinsky's diary. The segments included here were written around 1920 when Nijinsky had left the Russian Ballet and relocated to St. Moritz, Switzerland with his wife and young daughter because of his fading mental health. As the words of Nijinsky's diary are read, his madness and his passion for dance share equal time. "I am a dancer... I love Russia... I love the Ballet Russe... I know how to suffocate... I feel a piercing stare..." Images of nature accompany the reading--flowing water, snowy forests, flowers, herons, sheep, silhouettes, statues--along with shots of costumed dancers sneaking through the woods or performing abstract pieces in nature. There are two different clowns in the film, symbolic of Nijinsky's other selves. In addition, characters from Nijinsky's dances, such as Petrouchka, the Faun, Blue God, and Golden Slave, are represented by dancers, though there is no footage of Nijinsky dancing in the film. Nijinsky was born in 1889 in Kiev, Poland. He was raised in St. Petersburg, Russia. And he died April 8, 1950 in an asylum where he was confined for the last 30 years of his life. [More]
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Reviews for Nijinsky: The Diaries of Vaslav Nijinsky
.. this unorthodox documentary works for those who have a sensitivity to the artist and to his struggles against such a cold and indifferent world.
Certainly no biopic, Nijinsky is short on facts, but long on expression.
There is a beautiful, aching sadness to it all. Paul Cox needed to show it. It is up to you to decide if you need to see it.
Just the labour involved in creating the layered richness of the imagery in this chiaroscuro of madness and light is astonishing.
Though Nijinsky's words grow increasingly disturbed, the film maintains a beguiling serenity and poise that make it accessible for a non-narrative feature.
Those who are only mildly curious, I fear, will be put to sleep or bewildered by the artsy and often pointless visuals.
Cox is far more concerned with aggrandizing madness, not the man, and the results might drive you crazy.
Jacobi, the most fluent of actors, is given relatively dry material from Nijinsky's writings to perform, and the visuals, even erotically frank ones, become dullingly repetitive.
It is not a mass-market entertainment but an uncompromising attempt by one artist to think about another.
Cox offers plenty of glimpses at existing photos, but there are no movies of Nijinsky, so instead the director treats us to an aimless hodgepodge.
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