# Tango Lesson, The (1997)

### reviewed by
James Berardinelli

    THE TANGO LESSON

    A Film Review by James Berardinelli

    RATING: ** OUT OF ****

    UK/France/Argentina, 1997
    U.S. Release Date: beginning 11/97 (limited)
    Running Length: 1:40
    MPAA Classification: PG (Mature themes)
    Theatrical Aspect Ratio: 1.85:1

    Cast: Sally Potter, Pablo Veron
    Director: Sally Potter
    Producers: Christopher Sheppard
    Screenplay: Sally Potter
    Cinematography: Robby Muller
    Music: Sally Potter
    U.S. Distributor: Sony Pictures Classics
    In English, French, and Spanish with subtitles

Sally Potter's THE TANGO LESSON is a cold, antiseptic romance, a love story without a heart or soul. Thanks to Robby Muller's striking black-and-white cinematography (occasionally interrupted by spectacular bursts of color), the movie looks great, but, on an emotional level, it's as stiff and unyielding as a slab of granite. For a film that's supposed to be about one of the most passionate dances known to the world, THE TANGO LESSON comes across as flat and lifeless.

Watching this movie, I was reminded of a couple of other recent pictures that use pairs dancing (as opposed to the FLASHDANCE variety) as an integral aspect of the story. The first, STRICTLY BALLROOM, is a glib parody of the romantic comedy/sports genre, and the second, SHALL WE DANCE?, isn't a conventional romance at all, but an examination of the path to personal freedom. And, while it's unfair to compare the intentions or plot of THE TANGO LESSON to those of either film, it's worth noting the differences in the way the dance numbers are presented. In both STRICTLY BALLROOM and SHALL WE DANCE?, they are genuine celebrations of life -- energetic, vibrant, and engaging. In THE TANGO LESSON, they're nicely-choreographed, but cool and clinical. Only one dance sequence (a number near the end, featuring four participants) works on a level other than the intellectual one.

Potter's story, although rather thin for a 100-minute motion picture, contains some clever elements. It's a fiction based on fact that uses real people, real locations, and real situations to spin off a narrative. Sally Potter appears as herself, an independent director trying to decide on her next project during a trip to Paris. While there, she sees an on-stage tango performance by the legendary Argentinean dancer, Pablo Veron (playing himself) and his partner. Inspired, Potter asks Veron for a lesson, and, when he learns that she's in the movie business, he agrees. Over the next several months, as their lessons continue, they become romantically linked. Then comes the deal: Potter will put Veron in her next movie if he makes her into a dancer. The apparent result of this pact, a canny mix of fact and fiction, is THE TANGO LESSON -- a film about tango that features Veron.

One of Potter's most egregious errors is casting herself as the lead. This is her acting debut, and it shows -- not only is she ineffective, but she has no screen presence whatsoever. I'm sure that taking the top role in THE TANGO LESSON appealed to her vanity, but it's a huge misstep. Behind the camera, with features such as the art-house hit, ORLANDO, the British film maker is a creative force; in front of it, she leaves little impression. Pablo Veron, her co-star (also making his feature debut) is more lively but not more accomplished.

THE TANGO LESSON is at its best not when the characters are dancing, but when it's exploring the creative process. The last half hour, as Potter endures the difficulty of bringing her new film to life, is intriguing for the insight it offers into the difficulties of producing art, especially when it involves collaboration. Some of the most inspired scenes are throw-aways, such as Potter's poolside meeting with a group of Hollywood executives who are debating whether or not to fund her latest project. Sadly, there's not enough of that material to sustain the film, and sitting through the entire running length can, at times, be tedious. THE TANGO LESSON doesn't make you want to get up and dance; it makes you want to go to sleep.

    Copyright 1998 James Berardinelli

    - James Berardinelli
    e-mail: berardin@mail.cybernex.net

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