Egocentric, sometimes arrogant, but above all, bursting with fiery passion and talent, legendary ballet dance Rudolf Nureyev was a larger-than-life character. His remarkable story is now being retold in the lush new period drama The White Crow, which had its Asian premiere at the 31st Tokyo International Film Festival. Directed by Ralph Fiennes, the film was awarded Best Artistic Contribution at the festival.
The White Crow is the renowned actor's third directorial feature, following on from his debut Coriolanus and The Invisible Woman. As in those films, Fiennes acts as well as directs. In The White Crow, he takes on the role of Pushkin, the soft-spoken mentor to Nureyev, played by professional dancer Oleg Ivenko.
"As an actor, I witness camera position, lighting, script changes, anything to do with the film. I became curious about what it would be like to be, as it were, in the driving seat, and that led me to have ideas about directing," said Fiennes at the festival.
Fiennes aimed for as much authenticity as possible, insisting on casting an unknown to play Nureyev and shooting with Russian and French actors. The story interweaves three periods in Nureyev's life: his childhood, his student years in Leningrad, and his exploration of Paris and dramatic defection to the West in 1961 -- the centrepiece of the film.
The director captures Nureyev's will and spirit as a young artist, leading up to his life-changing decision. Fiennes saw it as a strong dramatic role -- a gift for an actor. In order to find his Nureyev, his team undertook an epic search throughout Russia before they ended up with five hopefuls on their shortlist, one of whom was Ivenko.
"I was very hesitant and nervous to cast an actor who would have to learn ballet, which would be harder to pull off because, as you know, these dancers start when they are very, very young," said Fiennes. "So, the expression and gesture is in them in a very deep way. And if I chose an actor, I would have to have a body double, and it would be time-consuming and difficult for our schedule. I felt that, if I could find a dancer who could act, that would be ideal."
In the end, Ivenko won the role for his physical resemblance to Nureyev and what Fiennes calls an instinctive gift for screen acting.
"It sounds a bit simple, but it's true. The camera loves him," he said. "Once you put a camera on Oleg, you want to watch. That's the quality of a movie star, I think."
"It was a privilege to watch a great teacher teaching a young actor," added producer Gabrielle Tana, who was also present in Tokyo. She said it was inspiring to see the young dancer/actor become absorbed and transform in front of the camera, teasing that Ivenko may be more interested in pursuing an acting career now.
"That's what this experience [being in this film] did for him. Creatively, it recalibrated him in that way," she said.
Fiennes denied any suggestion that he may have wanted to take on the role of Nureyev himself had he been younger. He only felt that the ballet maestro's journey, from his youth to his defection, would make for a compelling film, which is why he eventually agreed to direct.
"Because it seems to carry so many themes: of self-realisation, of freedom, the context of the Cold War, ideological conflict in which the individual has to sort of claim themselves," he said.
"[Nureyev] was a robust and extreme individual who provoked the system. So for me, there were many themes in the story that question who are we as artists. Who are we if we are individuals? What does it mean to claim who you are?"
However, when questioned on themes of resistance in his films, from Coriolanus to The White Crow, Fiennes insisted: "I don't have a political message. I'm interested in the spirit of people and what it is to be human."
Tana later revealed that Fiennes wasn't originally planning to act in the film, wanting to focus exclusively on directing. He reconsidered when he realised the added commercial value it would give the film if he were to star in it too. The producer believes his performance is extraordinary.
"There was something very poetic about watching him be the teacher of this young dancer who was becoming an actor. I think, ultimately, it was all worth it. But next time I hope he can just direct," she said.
