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Release year=2019

directors=Alla Kovgan Country=Germany Genre=Biography, Music 157 votes

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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.

A remarkable achievement by filmmaker Alla Kovgan, spending seven years to make this classic tribute to the late dancer/choreographer Merce Cunningham.

Working with both archive footage and valuable sound recordings, she conjures up the avant-garde artist through recordings of his work, his philosophy of his art and comments by many close collaborators including notably John Cage and Robert Rauschenberg. Not meant as a biopic, film concentrates on spectacularlhy cinematic (in 3-D) new performances of many of his dances, executed by members of his company, which disbanded in 2011, after Merce's death in 2009. At a q&a following the screening, Kovgan indicated that Wim Wenders' innovative 2011 3-D dance film about German choreographer Pina Bausch inspired her to take on this formidable project, finally starting shooting in Stuttgart in 2015 with principal photography taking place in 2018. Her use of 3-D technique is outstanding, resulting in gripping visual images, enhanced by the accompaniment of the original dance scores by John Cage and others. For a novice like me, not overly familiar with Merce's achievements, the movie brings his dance to life and points to how 3-D technology can be used artfully rather than as a gimmick, or its current excuse to permit higher price points for movie admissions to films, both animated and action-oriented, that should play just as well if not better in 2-D on large screens.

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There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on June 1, 2016 Format: Prime Video Verified Purchase Fantastic look into the life of Mr. Cunningham. It gave a perspective that I hadn't even considered. I loved how it actually made Mr. Cunningham vulnerable through his introspection [which he allowed to be shown]. His dedication to capturing the raw / unfettered beauty of fashion [or as he puts it, 'personal style'] is so refreshing and makes me respect the dedication to his craft all the more. It amazes me how highly respected he has remained in the industry since the 60s (I mean, being besties w/ Brooke Astor?!?!? AMAZING!!!! ). I have always been curious about his 'chosen uniform' - being such a lover of fashion and yet his explanation made total sense to me (highly respect that). Ever the utilitarian, his resolve to getting everywhere in NYC via his bicycle (29 variations, I believe he said), even though it has been stolen time & time again, makes one respect his drive and resolve to remain a 'free spirit' w/o all the trappings the fashion industry has repeatedly offered to him on a silver platter. This man truly LOVES what he does and I highly respect that. Reviewed in the United States on August 13, 2019 Format: Prime Video Verified Purchase Wildly interesting and heart warming doc. Bill was a treasure and what humanity he had. I could relate to him in so many ways, which is such a surprise. "That's them and it's so interesting, but it's not necessarily my thing. " His interest in fashion was so much more than superficial. He was so layered. The ability to interest oneself in what others do certainly makes one interesting. At once opinionated and yet open-hearted, that's Bill. And so humble. He loved his work and wouldn't be owned, nor told what to do. What a life lived! Reviewed in the United States on October 8, 2017 Format: DVD Verified Purchase I found this a stunning, deeply thought-provoking, and inspiring documentary. One of the best I have ever seen in my life, and I watch a lot of documentaries. That is because the subject matter of the film, Bill Cunningham, was such a supreme person and artist, that watching him is seeing a piece of art walking around--or biking around and taking photographs, as the case might be. I hesitated before watching this, thinking it might be stuffy and pretentious fashion stuff, or that it would be boring "artsy fartsy" stuff. I could not have been more wrong. This is a powerful and beautiful documentary that will be ESPECIALLY meaningful to you if you have the following interests: 1) extraordinary people 2) fashion 3) New York 4) art and, 5) a life well-lived. Bravo to the creators of this masterpiece. And Bravo to St. Bill Cunningham! Reviewed in the United States on October 13, 2016 Format: Prime Video Verified Purchase This documentary gives those of us outside of New York City a small glimpse into the world of fashion through the eyes of a well known and favored photographer to some of New York's most well known icons. To hear in an interview from Anna Wintour how her admiration of Bill Cunningham overflows exemplifies his influence and acceptance into the fashion world. Learning about his philosophy of never accepting even a glass of water when he attends events to photograph the fashion reminds you of how to truly follow your passion and gives meaning to Bill's motto of not accepting money but rather his love of what he does provides him with such pleasure. Getting to know a sliver of who this man was is heartwarming and his genuine passion and love of what he does is incredibly inspiring. Well done and uplifting this documentary will warm your heart. He is funny too. We should all be so lucky to know someone even close to this type of man. Reviewed in the United States on October 14, 2016 Format: Prime Video Verified Purchase One of the most beautifully directed and edited documentaries about any individual. The deeply private, intensely committed subject brought honor and taste to the world of popular fashion and dethroned some of the press moguls that had stultified the field. What a wonderful man and what a superb documentary study if what one individual can accomplish in an utterly crazy world. One of the finest non-fiction films I have ever seen. Bravo, Bill! Reviewed in the United States on March 13, 2012 Format: DVD Verified Purchase If you love good documentaries on the fashion industry - The September Issue and Valentino: The Last Emperor for example - you'll love 'Bill Cunningham New York. ' But even if fashion doesn't interest you, if you love New York City - either as resident or frequent visitor - you'll love BCNY. And, even if you don't think or care much about NYC, you'll be fascinated by this insider's look at this one-of-a-kind, impassably dedicated, deceptively complex man. How this film from Richard Press didn't get an Academy Award nomination is beyond me. [Oh, right: Harvey Weinstein didn't back it. ] For dedicated readers of the New York Times, there's the thrill of finding out what goes into compiling and editing Cunningham's iconic "On the Street" pictorial montage each week. A few viewers might find that look into the editing process tedious. But I suspect most will find it fascinating. We see Mr. Cunningham pick a theme and then work through the week at assembling his vision with John Kurdewan, a production artist and layout editor for the Times. I loved the film's focus on the work and relationship between these two: Kurdewan's technical chops (and extraordinary patience, good a bit of mock exasperation! ) together with Mr. Cunningham's artistic vision (and trademark doggedness - into his 80s now, he still obsesses over the finest detail). If there's a single word to sum up Mr. Cunningham, it is "unimpeachable. " We see this characteristic most clearly demonstrated in his approach to his other signature column: Evening Hours. He is pounded with hordes of invitations. He flips through a stack on his desk. Yet, he only picks the events that he deems worthy. Throughout his entire career, he's never taken a single cent (other than his Times salary) to cover these events. It's plainer than that: he's never taken so much as a sip of water at these events. This isn't a casual decision. Mr. Cunningham makes it clear that in taking this line, he maintains his freedom. At his most serious, he intones, "Never take the money. " Riveting stuff. My favorite scene among many: Cunningham in Paris attempting to get into an important show. Were you not to know the man, you'd probably have the reaction that the gatekeeper does: Cunningham continually flashes his pass, continually gets overlooked. He never pulls rank. He never pulls the "Do you know who I am? " card. Throughout, Press keeps his camera trained at a distance. Cunningham is either unaware or doesn't care. Finally, another person affiliated with the show intervenes, pushes the clueless security personnel away with these words: "Please, he's the most important man in the world. " That Cunningham is indeed that man (in this world) and remains his singular, ascetic self makes this the most fascinating of tales. I'm so glad that Richard Press captured the story before Cunningham's unique career comes to a close. Top international reviews 4. 0 out of 5 stars Fascinating but tinged with Sadness Reviewed in the United Kingdom on October 28, 2015 Verified Purchase This is about the unusual and devoted New York fashion photographer Bill Cunningham. Bill is a small elderly man (now 86) who carries a Nikon film camera round his neck. He rides his push bike through the streets of New York before chaining it to a lamp-post, this is because he's had 27 stolen! Bill has a good eye and starts taking photographs of street fashion for New York publications. In the evenings he cycles to glittering charity events and takes photographs of the fashion and people he finds inspiring. Bill tells us he is not interested in celebrities with their "free dresses". We see that Bill is a private and reserved man whose only interest is in recording the evolving fashion trends. He lives a very frugal life in a tiny apartment with no private kitchen or bathroom, in Carnegie Hall. His apartment has little furniture but is full of filing cabinets holding all of his many films with hundreds of books on fashion tucked into every nook and cranny. Bill appears to know everybody who's anybody in New York and also international fashion. He goes to Paris for Fashion Week and waits patiently outside one of the shows with his invitation and all the other photographers. Someone rushes out of the building and leads him in saying, "this is the most important person in the world" Bill gets seated in the front row but he will only photograph the clothes that are interesting to him, clothes that he feels real people could wear. Bill’s been around a long time, and really he’s seen it all before. Designers beware and take note. The film has cameo appearances from the New York Glitterati and some wonderfully eccentric fellow residents of Carnegie Hall. Towards the end of the film Bill is asked about his private life, he touches on the subject of homosexuality. He talks about his family’s expectations of him and you get the impression this has given him a strict code for life that has lead to the life he now lives alone. Bill is also a religious man, a man who goes to church every Sunday. When asked about this Bill cannot speak, he puts his head down trying with all his resolve to control his emotions. Once he is composed he tells us only that religion is important in his life. Ultimately fashion has been his life and only true love. A fascinating film, but it left me filled with sadness for a life emotionally half lived... 5 people found this helpful Sending feedback... Thank you for your feedback. Sorry, we failed to reco
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Author: Dan Cunningham
Biography: Illustrator & Cartoonist celebrating that which rocks: art, music, food, wine & Polynesian culture (P.S.?Honu is Hawaiian for Sea Turtle)