The Tango Lesson (1997)

Sally Potter and Pablo Veron

Sally Potter and Pablo Veron

Work. Love. Art. Life. All these things are intertwined, but sometimes it’s hard to keep them in balance. In fact, it’s often impossible. Sally Potter knows this, and yet she keeps trying to bring them all together. Her movies are about the constant struggle to find that balance. And in The Tango Lesson she puts that struggle at the heart of the movie.

First off, Potter plays herself, a filmmaker trying to focus on the work she needs to do in order to create her art. At the beginning of the movie we see her getting ready to work on the screenplay. First, she has to prepare the space. We see her standing in the sunlight in a sparsely furnished room, vigorously cleaning the table she’s going to write at. Next she lays a stack of paper on the table, and next to it, parallel to it, a pencil. We can tell by the careful, methodical way she approaches the task that this is someone who values order. Maybe a little too much.

Getting ready to work.

Getting ready to work.

But this isn’t just a film about making a film. It’s about the creative process in general. Things don’t flow in a straight line. Disruptions are part of the process. Distractions become the focus. Potter is walking down a street one night and hears music. She follows the music into an auditorium where she sees a man and a woman dancing the tango on stage. Entranced by the performance, she lingers after the show and introduces herself to the male dancer, Pablo Veron, also playing himself.

“You use your presence on stage like an actor in a film,” she tells him, a complement only a director would offer. “Do you work in the cinema?” he asks. From the first words they speak, their relationship is defined by the work they do. Potter wonders if Veron ever gives lessons. It turns out Veron has always wanted to be in films.

This is the beginning of a complex relationship, with Potter and Veron each playing multiple roles. Teacher, student. Director, actor. Man, woman. The relationship changes according to the roles they play. Veron is completely comfortable as the performer on a stage or the teacher instructing a student. In other words, when he can be in charge. Things are different when he isn’t the one calling the shots. Potter understands that when the two of them dance the tango, the man is in charge. But Veron doesn’t understand that when the two of them make a movie, the director is in charge.

As in most relationships, these two people are at the mercy of complex and conflicting desires. An artist has to be selfish. A lover must be unselfish. Veron seems genuinely attracted to Potter, but she could also offer him the chance to be in the movies. Potter becomes fascinated by the idea of making a film about the tango, but it could also be a way to stay close to Veron. It’s not always easy to be sure of what their motivations are. They may not even be sure themselves.

Learning the tango with two new teachers.

Learning the tango with two new teachers.

We watch this messy, multi-layered relationship unfold against the backdrop of the tango. In between the intimate conversations and the dramatic quarrels, Potter gives us a series of stunning dance sequences choreographed by Veron. We see the two of them performing an intense and intimate tango on an empty dance floor. There’s an ecstatic nighttime duet along the banks of a glittering river. And toward the end the two are joined by other dancers in a dramatic ensemble piece. Showing dance on the screen can be difficult. If the filmmakers aren’t sensitive to the rhythms of the performers, a beautifully choreographed sequence can be wasted. Fortunately, editor Hervé Schneid seems to have an intuitive understanding of how each scene should be shaped. His cutting is perfectly attuned to the movements of the dancers.

Cinematographer Robby Müller’s expressive black and white photography gives the movie richness and depth. He catches the moods on the actors’ faces and the way their bodies move through space. The film’s emotional landscape is also shaped by its subtle underscoring, the work of director Potter and multi-instrumentalist Fred Frith.

There’s no doubt that these two people care for each other, but they also care about their art. Passionately. The relationship may not survive, but whatever happens, Veron will go on dancing and Potter will go on making movies.

TL River 3

Posted on August 19, 2016, in Uncategorized and tagged , , , . Bookmark the permalink. Leave a comment.

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