Biopic just makes too many false moves

Mercury (Hobart) - - ENTERTAINMENT - LEIGH PAATSCH

JUST over a cen­tury ago, Loie Fuller was con­sid­ered a rev­o­lu­tion­ary and highly in­flu­en­tial fig­ure in the world of dance. Th­ese days, she is all but for­got­ten.

This well-in­ten­tioned yet wonky biopic is look­ing to rec­tify the griev­ous over­sight, but botches the job at cru­cial junc­tures.

French in­die mu­sic star Soko (best known in English­s­peak­ing cir­cles as a re­cent ex of Twi­light star Kris­ten Ste­wart) has the role of Fuller, who nav­i­gated a re­mark­ably round­about route to fame and for­tune.

What a trip it was: haul­ing her­self from ob­scu­rity in the back­blocks of the Amer­i­can west to the bright lights of Paris and a head­line slot at the Folies Berg­ere.

The only trou­ble is, much of what the movie says tran­spired along the way did not ac­tu­ally hap­pen at all.

With so much of the nar­ra­tive fo­cus cen­tred on a fic­ti­tious re­la­tion­ship and bit­ter ri­valry with an­other US-born diva of dance, Isadora Dun­can (Lily-Rose Depp), the true mo­tives of this pro­duc­tion seem loftily mud­dled and mis­guided.

The Dancer is now show­ing at the State Cinema. Rat­ing:

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