123movies Movie Cunningham

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• 7 of 10
• Score - 102 Vote
• Duration - 93m
• Even for those who know little about dance, Merce Cunningham is a recognizable name - an iconic figure in his field. His mid-20th century collaborations with composer John Cage (his lifelong partner) and visual artist Robert Rauschenberg were central to an era of transformation. Cunningham resisted "avant-garde" or any other label. "I don't describe it. I do it," he once said. Now, with Cunningham, we have a chance to experience what he did. Filmmaker Alla Kovgan assembles the last generation of Cunningham dancers (led by Merce Cunningham Dance Company assistant director of choreography Jennifer Goggans) to present landmark works from the Cunningham repertoire. The film concentrates on the three decades from 1942 to 1972 when Cunningham was making his reputation. Gorgeously shot in 3D, Cunningham brings us closer to these works than any audience has ever been before. Taking an inventive approach with locations, the film places dancers in evocative backdrops such as a tunnel, a high-rise rooftop, and a forest. These current-day performances are interlaced with archival footage of Cunningham speaking and moving. We also hear illuminating interviews with Cage, Rauschenberg, and members of the original Merce Cunningham Dance Company, who endured years of rejection and outrage before they slowly won over audiences. "I never believed that idea that dancing was the greatest of the arts," said Cunningham. "But when it clicks, there's the rub. It becomes memorable. And one can be seduced all over again." Whether you come to Cunningham as a neophyte or an aficionado, you'll leave with a rich experience of his art
• Directors - Alla Kovgan

 

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Cunningham & associates. Cunningham funeral home bridgeport il. Cunningham and nelson funeral home. Movies | ‘Cunningham’ Review: Exploring Space, Time and Dance in 3-D Critic’s Pick Alla Kovgan’s documentary about Merce Cunningham shows aspects of his choreography that can be difficult to convey on conventional film. Credit... Mko Malkhasyan/Magnolia Pictures Published Dec. 11, 2019 Updated Dec. 13, 2019 Cunningham NYT Critic's Pick Directed by Alla Kovgan Documentary, Biography, Music PG 1h 33m The screen is flat, but the space is round, both infinite and enveloping. The human figures in it, camouflaged, should blend in with the background. But they stick out in every direction, moving every which way. This thrilling fragment of the choreographer Merce Cunningham’s 1958 dance “Summerspace” is sufficient justification to make a documentary about Cunningham in 3-D. The technology conveys aspects of his radical aesthetic that are otherwise difficult to suggest on film. And that’s only one reason that Alla Kovgan’s “Cunningham” is an excellent introduction to a great body of work that can be hard to get a handle on. One of Cunningham’s many innovations was to dissolve the spatial organization and frontal focus of the proscenium stage, making all parts equal, with dancers facing and moving in any orientation and often several things happening at once. Kovgan’s film doesn’t reproduce this so much as find a vivid equivalent. The camera, choosing what you see, diminishes the feeling of simultaneity. But by moving into and through the dances in 3-D, it offers an immersive sense of what Cunningham called “a space in which anything can happen. ” It helps you see how the air around a dancer can seem as alive as the flesh. If 3-D helps put Cunningham across, it isn’t required. Some of the most seductive footage here isn’t the new performances of old works (1942-1972) that Kovgan filmed in 3-D, like “Summerspace, ” but lower-resolution, 2-D archival footage, much of it rare and irreplaceable. What makes it irreplaceable are the original performers, especially Cunningham himself, surely one of the greatest dancers of all time. His longtime muse Carolyn Brown speaks of his “quiet center” and “animal authority”; we see all that and more. It’s another strength of the film that the voices we hear are hers and his and those of other company members, recorded long ago. No current-day experts are needed to establish the core ideas of the Cunningham aesthetic, from the use of chance in composition to the independence of dance and music. The choice not to use new or outside voices keeps us in the period, and it helps preserve a Cunningham-like tact around personal facts. Although much of the film proceeds in chronological order, there’s almost no biographical back story; the long-shrouded relationship between Cunningham and the composer John Cage is delicately (and moving) presented in a single exchange of inexplicit letters. Likewise, tensions between Cunningham and his dancers aren’t hidden, but they’re not over-explained, either. Emotion roils beneath a deceptively placid surface. A story accrues. The same tact extends to questions of meaning. Cunningham’s practical-gnomic explanations illuminate without shutting down options. Kovgan doesn’t follow Cunningham’s courage all the way, though. As if to compensate for the lack of 3-D in the archival material, she collages it, splitting the screen into many panels. It’s artful but effortful, drawing too much attention to itself. That’s also true of much of the new footage. The elegant camera movements and dramatic settings chosen by Kovgan — dance in a formal garden that the camera glides away from, over a pond, like a dragonfly — are beautiful but often distract from what they are intended to display. The 90-minute film excerpts 14 works, which means that the snippets are quite short. This excerpting has a precedent in Cunningham practice. He liked to mix up pieces of many works in one-off performances called Events. Formally and philosophically, his focus was on each moment, with little linear development. The well-chosen selections in “Cunningham” reproduce the variety of a Cunningham Event, and give the Cunningham experience of luminous instants. But what the film doesn’t give is an accurate sense of Cunningham time. In a Cunningham dance, the mind can wander, experience different rates of change, be baffled, engrossed, astonished, bored. The price of Kovgan’s efficiency is impatience, always cutting away and moving on. “Cunningham” registers the resistance that its subject encountered: the puzzlement, the thrown fruit. But as a film, it doesn’t take comparable risks, so it precludes the possibility of certain rewards, ones you have to see the full dances to get. That’s what makes it a good introduction. Cunningham Rated PG. Running time: 1 hour 33 minutes.

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• Great to see a film about dancing! A relatively unexplored sub-genre of documentary, and Cunningham was welcome for this alone. It adds to a hole that I suppose Wenders' Pina opened.

 

• On that note, this film should not have been shot in 3d, which added nothing but nausia. We expect the 3d was entirely for the purpose of (a) copying Pina and, relatedly, b) getting funding. But Cunningham's dances are far less spectacular and their presentation here likewise. The 3d only distracts from the movement in all but one Warhol-involved set, especially when edited with 2d archival.

 

• First half entertaining, second boring. The film progresses at a monotonous pace: one thing happens and then another and then another. No real conflict or tension.

Which is a problem. Because there evidently was plenty of this, but only in reality. The movie, on the other hand, brushes past unconvincingly. No one in the film is given space apart from Cunningham - everyone else speaks to convince the audience how great he is. I wanted to hear from one of his female dancers honestly, in long form, of the darkness of Cunningham. This would help to flesh out his character, give us something to chew on, and organise the film into a narrative. As is, we grew progressively distrusting and disengaged with the Greatest Hits/ Victory Lap tone, before the film ends suddenly with the news that all his dancers left.

• Ultimately we were left unconvinced that Cunningham (the dancer) was all that interesting. Fashionable certainly, he's attached to the right people, and I'm sure it would be great to be dancing as him, but the just-over-half-full prime-time-at-the-festival cinema was an endless circuit of yawns.

 

• Nevertheless we feel cultured now.

 

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Cunningham peaches. Cunningham cemetery. Cunningham's towson. | Glenn Kenny February 14, 2020 The minute Bill Cunningham starts talking in this charming documentary is the minute you fall in love with him. Mark Bozek ’s far-reaching but concise film about the New York Time s correspondent who considered himself not a photographer at all but a fashion historian—this despite the fact that the photographs that were the main part of his weekly “On The Street” column in that newspaper were exquisite—is structured around a 1994 interview Bozek made with Cunningham in 1994, when Cunningham was in his mid-sixties. (He died in 2016 at the age of 87, and was still riding his bicycle around New York City snapping shots for his column until that time. ) Advertisement In the interview he’s still boyish, with an excited voice and almost buck teeth. He’s still curious and animated about everything and laughs easily and often. He recounts being raised in Boston by strict conservative Catholic parents and discusses their befuddlement in his interest in fashion—no one else in his family, either immediate or extended, ever had a sou of an inclination in that arena. Cunningham moved to New York in the ‘40s to be a milliner. He worked for the store Bonwit Teller, he made hats for Ginger Rogers and Marilyn Monroe, he fell in with the fashion house Chez Ninon. He dyed a Balenciaga dress black so that Jacqueline Kennedy could wear it to her husband’s funeral. He had a deep knowledge of couture lore and semiotics, especially in relation to high society. He remembers being disappointed that Hollywood figures in real life had no “style” in their personal lives, as opposed to people such as “Mrs. Astor” and such, who would, I presume, fall out of bed in Dior or whoever. He’s so ingratiating that when he outlines this stuff, classism seems amiable. Which is not to say he was an uncritical classist. He discusses how his work on the streets sensitized him to homelessness and other sufferings the city held for people. Constantly self-deprecating, Cunningham recalls how employers and friends were constantly encouraging him to do something else. After being gifted with a camera, he found it. Setting himself up in a spartan studio-with-loft at the Carnegie Apartments—where he lived, sleeping on a twin bed mattress placed atop a row of storage crates—he got on his bike and rode, taking pictures of what people were wearing on the street. Then flying across the Atlantic, his changes of clothes in plastic deli bags, to shoot Paris runway shows. He was an unusual person. He keeps up a cheerful front but can break down in tears in less than two seconds when asked a question that hits him a certain way. He survived the AIDS crisis—he never actually addresses his personal life, or even whether he had one, in the movie, and neither does the narration affectionately provided by Sarah Jessica Parker —but is broken up remembering it. It is revealed that he donated most of what he earned over the years to AIDS charities, and to the Catholic Church. We won’t see his like again. Which is a good reason to rejoice for this engaging portrait of him, the second documentary about him in the space of a decade. The first was 2010’s “ Bill Cunningham New York. ” He didn’t see that one. He did go to the premiere, and photograph the attendees, though. Reveal Comments comments powered by.

Critics Consensus Cunningham may frustrate viewers hoping for a purer distillation of its subject's work, but it remains a solid tribute to a brilliant talent. 87% TOMATOMETER Total Count: 52 100% Audience Score User Ratings: 6 Cunningham Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Cunningham Videos Movie Info CUNNINGHAM traces Merce's artistic evolution over three decades of risk and discovery (1944-1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the world's most visionary choreographers. The 3D technology weaves together Merce's philosophies and stories, creating a visceral journey into his innovative work. A breathtaking explosion of dance, music, and never-before-seen archival material, CUNNINGHAM is a timely tribute to one of the world's greatest modern dance artists. Rating: PG (for some smoking) Genre: Directed By: In Theaters: Dec 13, 2019 limited On Disc/Streaming: Mar 24, 2020 Runtime: 93 minutes Studio: Magnolia Pictures Cast News & Interviews for Cunningham Critic Reviews for Cunningham Audience Reviews for Cunningham Cunningham Quotes Movie & TV guides.

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Publisher: Jenna Cunningham
Resume: usually wearing a hat

 

 

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