People have always questioned whether movies -- and art in general -- imitate life, or whether life takes its cues from society's exposure to the arts. Adding more fuel to that debate's fire, we now offer "The Tango Lesson. Here we have a movie about a woman film maker who decides to make a movie about tango dancing. That's nothing special in particular, unless you factor in that the plot just so happens to coincide with the real life story of the film's director, Sally Potter (1993's "Orlando"). For not only did she direct this film and write its screenplay (as does her character in the movie), but she also composed the score and provided the vocals heard during the feature. Talk about an overachiever.
On the other hand, some may also call that narcissism, in that she's directed a movie essentially about her directing a movie, casting herself as, well, herself. In addition, she didn't even differentiate her character's name from her own, and many of the performers play themselves in the film. Smearing the line between documentary and drama, Potter has created a film that's interesting to watch, but is so paper-thin in plot (beyond its forced cuteness of being a film about itself) that it ultimately gets boring long before the last tango (no, we're not talking about the Marlon Brando film).
While there is a story — a woman wants to make a film and barters dance lessons from a professional dancer in exchange for casting him in her movie — that's about it. There are some semblances to a budding romance beyond their professional relationship, but it's so subtle and underdeveloped that it's more frustrating than compelling. You want something to happen between these two — anything — but instead you get the standard plot where they initially are attracted, almost have a romance, then fight, which finally leads to them getting back together again.
Although that sounds substantial and is the typical breakdown for a romantically plotted movie, that's giving it more depth than what's really there. The film's broken into many numbered lessons (supposedly the progression of dance training), but symbolically these are supposed to be the "life lessons" Sally's learning. Some of it works, but many will probably confuse those titled breaks as just a linear progression in her dance lessons themselves.
Fortunately, Potter focuses most of her attention on the tango itself, and that's when and where the film really shines. Much like a documentary, there are long and loving shots of the dancers and the dance itself. Potter's made sure the numbers are elegantly photographed (cinematographer Robby Muller's excellent lens work), and the sweeping camera moves are a nice alternative to the frenzied MTV style editing usually associated with any recent dance-oriented movie. Pablo Veron — a dancer by trade — is spectacular to watch and reminds one of a time years ago when Gene Kelly and Fred Astaire commanded the screen with their unbelievable moves.
Veron has a great on screen charisma, and when given the chance to strut his stuff (not just in the tango, but in some fun "improv" numbers), is quite fun to watch in scenes he choreographed himself. The film nears spoofing itself, however, when the characters just start dancing at the drop of a hat (as in the old musicals, and recently, but adoringly spoofed in Woody Allen's "Everyone Says I Love You"), and then finally goes over the edge when it eventually "treats" us with Sally singing to Pablo in an old-fashioned number.
The film definitely has a European "art house" feel to it. Obviously some of that comes from the fact that it's set in London, Paris and Buenos Aires, all of which gives it a strong international flair. Throw in the multilingual dialogue, use of subtitles, and the decision to shoot most of the film in black and white and one can't help but notice what begins to near serious pretentiousness. All of that, of course, adds to the narcissistic atmosphere permeating the film, and many may criticize Potter for going too far with her self-indulgence.
Fortunately Potter's creative eye diffuses some of that, and many of the visuals are quite compelling to watch. The intrusion of the limited, but vivid, in color scenes is jarring, but that effectively matches the fictional scenes we're seeing. Throwing in a limber, but legless man with the fact that we don't initially know what we're seeing, and we can't help but wonder what's going on and what will happen next.
The lack of a substantial story, however, diminishes that creative look and the movie takes on the feel of a documentary that's just a bit too long. The dance numbers aren't different enough to continually remain interesting, Veron isn't given enough opportunities to dazzle us with his improvisational numbers, and Sally (an accomplished dancer in real life) becomes way too proficient at the tango too quickly. This strains the believability factor, and therefore doesn't make the film as enjoyable to watch as other "learn to dance" films such as "Shall We Dance?" where the audience can readily identify with the would-be dancer's frustrations.
Unlike that film, we never learn why Sally becomes so obsessed with learning this dance (the obvious reason would be that she wants to learn it to be able to film it correctly), or for that matter, much else about her or the other characters. Whereas this film certainly features more dance footage than any recent, similar production, it lacks the human quality that made "Shall We Dance?" such a hit with audiences. Had Potter put a little more emphasis on the people involved, this film would have made for a better drama. As it is, it stands closer to being an imaginatively filmed documentary instead of a "movie." Therefore, we give "The Tango Lesson" a 4 out of 10.