Seventy one years age today, a new movie hit theaters: The Red Shoes. For a certain generation of dancers, this was the movie—the one that initially inspired them to step inside the studio.
For others, it was the first film they ever saw that finally "got" them. When Moira Shearer's character Victoria Page answers the question "Why do you want to dance?" with the response "Why do you want to live?" she channeled the inexplicable passion of thousands who dedicate their lives to this art.
Of course, many dance movies have followed in The Red Shoes' footsteps. But not all are created equal. We polled some of the Dance Magazine staff to find out what they rate as the G.O.A.T. of dance movies. It turns out, there was a pretty clear favorite in the office.
There's a type of dance you've never heard of: It's called "classical ballet." The progenitors included Mathilde Kschessinska, Vaslav Nijinsky and Anna Pavlova. The art form passed through generations from Margot Fonteyn, Rudolf Nureyev to Mikhail Baryshnikov. It continues in our own time—Misty Copeland!
It would be far-fetched, even absurd, to hear that in a lecture today! But that is how revelatory "The Choreography of Comedy: The Art of Eccentric Dance" was, at the Academy of Motion Picture Arts and Sciences in Los Angeles on August 5.
The evening program rediscovered a once-flourishing, but critically undervalued dance genre with deep historic roots. Betsy Baytos, an eccentric-dance expert and leading connoisseur of the loose-limbed, rubbery, out-of-joint, prat-fallish, snake-hipped and peg-legged, hosted and curated.