Recorded before her death in 2019, 90 year old former Radio City Music Hall Corps de Ballet soloist, Paulette Harwood shares the energy and passion that characterised her subsequent career as a dance teacher in a poignant film by her grandson James Gallagher who sez:
…she was interesting before I knew what interesting was. I didn’t set out to make a film, I knew my grandmother and the school wouldn’t be around forever and I wanted to document it before she went away
As a prima ballerina in New York during the 1960s, Marta C. González performed Tchaikovsky’s Swan Lake perhaps hundreds of times.
Marta had Alzheimer’s and recently passed away. But in this poignant footage, filmed last year in Valencia, interspersed with clips of her past performances, she is reanimated by the music of the ballet, recalling choreography that she still knew by heart.
An elegant mix of choreography and VFX directed by Barnaby Roper, featuring dancer Kendi Jones in an interpretation of the momentous walk to school in 1953 of Elizabeth Eckford – one of the Little Rock Nine, a group of black students who were first to integrate Central High in Arkansas.
Initially banned from attending and hectored by crowds of angry white students, teachers, and community members, the nine were eventually admitted following an intervention by Dwight D. Eisenhower.
Fatboy Slim’s ‘Weapon Of Choice’ set to Spike Jonze’s memorable video featuring Christopher Walken’s zero-G hoofing but with the 2nd and 4th beats of the track swapped by Steve Badach to create an equally infectious glitched mix.
A short mesmerising clip from “Celui Qui Tombe” (He who falls) – an extraordinary dance spectacle created by choreographer Yoann Bourgeois and performed on a spinning platform that allows the dancers to appear to run on the spot and lean at seemingly impossible angles. To wit:
Lowered into a horizontal position, this structure begins to revolve, slowly at first, then faster. Subjected to increasing centrifugal force, the dancers cluster together, their bodies inclining inwards at ever more acute angles. Individuals depart the group and make exploratory sorties, circling the platform as if battling against a great wind.
What would you be willing to do for them to love you? LOVE ME, FEAR ME is a reflection on the roles we play and the shapes we take, the stages we chose, the audience we try to impress and the price of acceptance.