Posted: 05/30/2003

The Dancer Upstairs

(2003)

by Hope Villanueva

John Malkovich and Javier Bardem team up to bring us a thought-provoking thriller.

John Malkovich has brought his storytelling eccentricities to the director’s chair. Malkovich is one of the most recognized “serious” actors, known for choosing darker and heavier material for himself and for being a key player in the Steppenwolf Theatre Company, which was started by his friend and cohort, Gary Sinise. With The Dancer Upstairs, Malkovich takes old habits into new territories.

The Dancer Upstairs follows the career of an upstanding member of the police force in a Latin American country full of civil and political unrest. Javier Bardem, of many Spanish language films, but most notably, the critically acclaimed “Before Night Falls”, plays the officer, Rejas. Rejas and his partner, Sucre (Juan Diego Botto) are charged with discovering the identity of the most gruesome terrorist in the country, as man known only as Ezequiel. Ezequiel not only blows things up using car bombs and the standard terrorist fare, but also kills dogs and hangs them from street lamps with cryptic messages around their necks and brainwashes children and teenagers to do his suicidal bidding. To complicate the situation, Rejas’ wife is vapid, so he takes solace in his daughter and her dance classes, where he meets his daughter’s instructor, Yolanda (Laura Morante). The more Rejas investigates, the more it seems that Yolanda is involved in Ezequiel’s plans. Rejas struggles with his growing attraction to her as he fights to find Ezequiel.

Written by Nicolas Shakespeare (and I do believe he’s related to THE Shakespeare) from his novel, the plot is think with political intrigue, successfully giving we Americans a taste of what it is like to live somewhere where revolution is ongoing. His script manages to balance the character centered primary story of Rejas’s personal journey while providing just enough historical and political background on the situation to make the audience understand the mentality of the country in question. Malkovich’s directing compliments the writing as full advantage of the film medium is taken. The characters’ situation demands that they remain as poised as possible to continue living their lives, but despite semi-stoic exchanges, the emotion of every moment is brought to the screen in their faces. Malkovich might have been a bit indulgent in terms of the pacing and the length of the shots, as the film could have been improved with a 15-20 trimming, but for a first shot at directing, this is prime filmmaking.

Having not seen Before Night Falls, this was my first encounter with Bardem. His Rejas is the heart and soul of this film in such a quiet, lonely manner that he is simply entrancing. Every word he says and step he takes is honest and from the base of his character. He is appalled by the violence around him, saddened by the state of his marriage, enthralled by the beauty of his daughter and tortured by Yolanda’s secrets at the same time. Hopefully, Dancer will bring Bardem even farther into the American spotlight and English-speaking audiences will have the chance to enjoy more of him. Botto is an artist in the ways of the comedic quip, his one-liners often being the teaspoon of sugar that this intense film needed to hold us afloat. And his stunning good looks only added to his on-screen charm. Think a Latin Colin Farrell. And Morante fits her role like a good shoe, playing the struggling artist to a tee. She is hypnotizing to watch in the scene where she is working a dance piece choreographed to a beautiful piano driven rendition of “All Along the Watchtower.”

Unfortunately, this film might be too slow for most viewers. Its tact is one of carefully built intensity and drama, not of adrenaline or urgent danger as the typical action thriller. But this has been one of the most well received independent films this year, and for good reason. Dancer is a piece of artistry and craft in filmmaking and damn fine storytelling to boot. Malkovich should be pleased.

Hope Villanueva is a Los Angeles thespian who is strongly in support of film that says something, as she is trying to make theatre that says something. You can learn more about Hope’s own theatre by clicking here.

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