PINA – The Review

Seems the proliferation of 3D feature films is the source of much discussion and arguments amongst cinema devotees. Many believe it to be a blatant cash grab by the studios to squeeze a bit more dough from movie goers. Films that are shot in 2D and are upconverted to 3D help support this view. One of the biggest offenders was the remake of CLASH OF THE TITANS ( I know it gave me a headache ) and now studios are going into the vault to re-release classics with the new tech ( Disney started last year, George Lucas is sending out his two trilogies, and James Cameron’s TITANIC sails back into multiplexes in April ). But something odd happened last year, the grown-up, serious directors are using this new format. The biggest hit may be Martin Scorsese’s HUGO, but art-house darling Werner Herzog created quite a stir with his documentary CAVE OF FORGOTTEN DREAMS. Now another film maker from across the pond, Germany’s Wim Wenders, has made his own documentary PINA in 3D. Will he brings some respectability to this much maligned movie gimmick? Well it is up for an Oscar!

PINA started out as a collaboration between Wender and acclaimed choreographer Pina Buasch several years ago. When she passed away in 2009 the project was to be abandoned until Buasch’s dance company, Tantztheatre Wuppertal, convinced Wenders to continue this film as a tribute and celebration of her talents. Luckily for us he agreed. Most of the movie consists of recreations of her dance works. It begins with number based on ” The Rite of Spring ” performed on a stage covered in dirt and soil. Later on in the film we see many of the same artists on that stage prancing through puddles on a rain-soaked surface. Later on, another famous work, ” Cafe Mueller “, begins with two of Buasch’s collaborators looking over a miniature model of the set when tiny dancers suddenly appear and begin the scene. Old black and white footage of the original production ( with Pina herself on stage ) is cut into the recreation. It’s amazing how the dancers integrate chairs into the number ( not just as props, but almost as another dancer ). This is driven home in a mesmerizing later number where dancers move through ten or so precariously stacked chairs. Several times the dancers leave the stage and head outside to perform on the streets and woodlands surrounding Wuppetal, Germany. Great use is made of their monorail-like commuter system. I was surprised at how the performers used their hands during the numbers, in complicated expressive gestures. Speaking of expression, the camera gives us a oppurtunity to see the great acting each of the dancers does with their silent facial expressions. Intercut between the numbers are stories about Buasch told by her dance troupe.  The camera lingers on the silent artists while their vocals play on the soundtrack ( some are without vocals as they gaze into the camera ). Bausch’s dancers are an international, multi-ethnic all-ages group. It’s heartening to see these mature veterans showing the newbies a step or two.

PINA is an unusal documentary as there is very little biographical information ( family history, etc. ) about the title subject. It’s all about the creative work she did with these talented people. And that may speak more about her than a mere laundry list of facts. The cinematography is gorgeous ( those dance frocks really pop against the backdrops ) and the camera moves in a way that doesn’t exploit but compliment the new technology. As with HUGO I can say that the 3D definitely enhances an already involving entertainment. Let’s hope more film makers utilize this format for works that are this enlightening and wondrous.

Overall Rating : Four Out of Five Stars