Written by Matt Giles
Edited by Erin Accomando
Frederick Wiseman is a documentary filmmaker whose career has spanned more than forty years. Knowing that makes me feel even worse about the fact that this is the first film of his that I have ever seen. Crazy Horse is the name of the Parisian cabaret, known for its eroticism and skillfully crafted performances. In 2009, Wiseman brought his camera in to film the making of the new show the cabaret was putting on entitled Désirs. What we get is the fly-on-the-wall style of documentary filmmaking that Wiseman is known for, wherein we witness the stress, hard work and sacrifice that these people put into creating a show.
The film begins with a variety
of musical numbers to introduce us to the world we’ll be spending the next two
and a half hours living in. It’s dark; it’s atmospheric; it’s artistic and yes,
quite erotic. Later, we see the director Ali Mahdavi talking about how they
need to close Crazy Horse if they really want to be able to pull off Désirs. We see everyone from the dancers
themselves, to the choreographers, makeup artists, costume designers and stage
managers. What’s fascinating is that through all of the stress and apparent
turmoil that exists behind putting on a show like this, no one ever shouts at
one another. The overall feeling that I got when watching this film is that
each show is such success largely because of the respect that everyone
seemingly has for one another. They do fight, again, never yelling, they
disagree on each other’s vision of the show but somehow they all work well together.
As mentioned, Wiseman’s unique
style of documentary filmmaking is very removed, as opposed to most
documentaries where the camera essentially forces its way in. Here, it’s
literally as we’re the invisible man, unnoticed day in and day out. There are
never any interviews conducted except for the ones conducted by other people
promoting Désirs, which Wiseman gets on film because he happened to be
there at that time. It’s a fascinating take on filmmaking because so much is
left up to us as an audience to interpret. We observe everyone, but we never
get to hear, for example, how any of the dancers feel personally about what
they do. We hear whispers from the director that certain numbers like Venus
are being cut because the women are not comfortable touching one another, but
again, these are only hints.
The one scene that really lets
us see the comical side of these women is when they’re sitting in the back
watching bloopers of Russian ballet dancers, laughing hysterically at each of
the mistakes they make. This is paralleled with another scene where the
director talks about how the women are still making at least one mistake during
each musical number, which is unacceptable. When watching this film one cannot
help but appreciate the kind of work that goes into a show like this, or for
that matter what it takes to do any show that’s worth talking about.
I should also mention that
this film is absolutely gorgeous to look at. This cinematography is spectacular,
largely due to the artistic direction and lighting of Désirs itself.
It’s amazing that a show like this even exists and it’s refreshing to see how
another culture views the subject of eroticism. This is a film and a world
unlike any other you’ve ever seen. It’s well worth your time and money to seek
this film out and invite yourself into the world of The Crazy Horse
Cabaret.
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