Mao's Last Dancer

Director: Bruce Beresford
Cast: Chi Cao, Joan Chen, Bruce Greenwood, Amanda Schull, Kyle Maclachlan and Jack Thompson
DVD release: 4 March 2010
Rated: M

Breaking free

Bruce Beresford has taken loving care with the direction of Mao’s Last Dancer and it shows throughout. This should delight fans of the ballet, for these sequences are fine indeed and the actors prove highly talented in the art of dance. Undoubtedly it would be hard to find suitable players for these demanding parts. And as a bonus, it also features the Australian Ballet Company.

Based on Li Cunxin’s autobiography, Mao’s Last Dancer is the story of his escape from abject poverty in Mao’s Cultural Revolution to become a world famous ballet dancer. Young 11-year-old Li Cunxin is living in the small village of Qingdao with his peasant family when he is selected by Madam Mao’s Dance Academy as an outstanding student to have special ballet training in Beijing. Despite physical weakness, Li trains hard in a tough routine at this academy - which is more like a military operation - and becomes an exceptional exponent of classical ballet.

In 1979, Li is picked in a cultural exchange by Houston Ballet’s director Ben Stevenson (Bruce Greenwood) to train with them in Texas. It’s a huge culture shock after the restrictions of Communist China. Despite rising to lead roles in the Houston Ballet, Li discovers problems in his American life when he falls for a local girl Elizabeth Mackey (Amanda Schull).

This is frowned upon by the Chinese Consul and results in Li attempting to defect as he is to be returned to China. He’s risking his family by defecting. Li’s assisted in his attempt by civil rights attorney Charles Foster (Kyle MacLachlan) and a Federal judge (Jack Thompson).

This however leads to a serious confrontation in the Chinese Embassy, with Li being held upstairs while the the FBI and the press clamour outside the doors. Even George Bush Snr, the US Vice-President at the time, became involved. It was a major stand-off between the Chinese and American governments and made headline news. Overcoming all his setbacks, Li goes on to become principal dancer with the Australian Ballet and later (more surprisingly) a successful stockbroker.

The early scenes in China are especially notable as they effectively capture of the period and its people. These sequences have a grainy quality which suits the material. Li is effectively played by three actors for the three periods of his life. As a child he’s portrayed by the very appealing youngster Huang Wen Bin, seamlessly moving into his teens with Chengwu Guo, and as an adult Chi Cao; who bears a passing resemblance to Bruce Lee. Needless to say these actors can dance brilliantly, especially Cao, who's totally convincing in the part of the mature Li.

In supporting roles, a weathered Kyle MacLachlan (Desperate Housewives) as the attorney still has the tonsorial elegance displayed in Twin Peaks. Another Twin Peaks alumnist, the fine actress Joan Chen (The Home Song Stories), provides depth of feeling as Li’s mother. The audience almost applauded when Jack Thompson (Australia) turned up as a judge chewing on his ripe Southern accent. Bruce Greenwood (Star Trek) takes on the role of Ben Stevenson with enthusiasm and some nimble dance moves.

While the acting is solid from the cast, but what finally inspires are the ballet sequences and music. A segment of the Australian Ballet’s production of Swan Lake is fortunately included.

Bruce Beresford (Driving Miss Daisy) is back to his best in this production, directing sensitively with assurance in the international locations (it was filmed in China, the USA and Australia) and making much of the dance sequences. Editor Mark Warner’s cutting of the action lends to smooth transitions. The screenplay is by Jan Sardi, also the writer of Shine the story of David Helfgott. Sardi has obvious empathy for the arts of music and ballet. The cinematography by Peter James is on the money - he’s worked with Beresford before and excels again with his images here.

Minor niggles include moments of melodrama which slightly jar, especially the execution dream sequence, then one remembers Beresford likes nothing better than a good execution (Breaker Morant). The film seems a little longer than necessary although the last reel packs heart-tugging warmth and an especially uplifting final shot; while the confrontation in the Chinese Embassy keeps the pulses beating.

John Bale