Mao's Last Dancer (2009) User Reviews

Mao's dancer becomes capitalist roader

[Philby-3 · 8/10 · 27 October 2009]

Bruce Beresford is one veteran Australian director who can produce popular films, and this one is definitely a crowd-pleaser, at least for the crowd that likes to watch dance. The story itself (naïve young dancer from totalitarian regime defects to the freedom of the West) is pretty hackneyed but is framed by some exquisite dancing scenes. My former Red Guard colleague "Robin" thought that the protagonist Li Cunxin was a bit of a goose, for, given his extraordinary talent, if he had gone back to China he would have reached the top of the dance establishment. Instead, seduced by the shopping malls and high rise of Houston as well as by a young American dancer, and outraged when he discovers the Party has lied to him about America, he defects, causing a minor diplomatic incident and cutting himself off for the time being at least from his family. Still, he was only 18 at the time.

The two actors portraying Li, Chengwu Gao as a boy and Chi Cao as an 18 year old, do excellent work, given that neither is a professional. In fact all the Chinese actors were terrific. The American / Australian support cast was OK (Jack Thomson reprising his good ole legal boy act, Kyle Maclachlan playing a straight role), though I found Bruce Greenwood as the Houston Dance Company director Ben Stevenson mildly irritating. One does see his point, however, about most of the Chinese dancers being athletes rather than artists. There were some sloppy aspects. Some of the Houston scenes were filmed in Balmain, Sydney, green street signs and all, which by no stretch of the imagination looks anything like anywhere in Houston. Yet Beresford filmed in Houston, and went to considerable trouble to film in China. The Qintao village scenes are beautifully composed and the very last scene shows how Beresford must have convinced suspicious local party officials that he was making a movie they could approve of. I guess he didn't show them the scenes with the Madam Mao–like character chucking her weight about.

It's not mentioned in the film, but it's well known that when Li's dance career came to an end he re-trained as a stockbroker, an unlikely "happy ever after" scenario. He now lives in Melbourne. Beresford and Jan Sardi based the script on Li's own best-selling memoir and there's no doubt they have added something, if only some great ballet scenes – the extract from Stravinsky's "Firebird was fabulous.

A beautiful personal movie of two cultures and ballet

[keachs · 8/10 · 3 November 2012]

I don't normally watch many movies about ballet, I respect it as an art form but as a guy, just don't "get it". This movie however, transcends the ballet aspect because it involves a personal and true-to-life story. I think the film captures well post-revolutionary China and the US in the early 1980's.

Even though the story is based on a actual events and you know actors are portraying these real people, the acting is quite believable (both Chinese and Western) . The dancing scenes are quite good, this coming from a layman. Chi Cao's acting was a bit forced as it was apparent that though he was Asian, probably was probably well versed in Western culture. (Being an Westen cultured Asian myself) it takes one to know one. This very slight oversight can be forgiven, given that Chi Cao's dancing is obviously authentic.

The early relationship of Li Cunxin and Elizabeth is very well portrayed, capturing the cultural differences which were a bit more pronounced 30 years ago. There were some very touching family scenes that made me cry.

I had not heard of Bruce Beresford before, but I see by his filmography that he has had a long and distinguished career and may check out more of his films. Yet another underrated and unappreciated gem of a film which deserves more exposure, squeezed out by the big studios and their big marketing budgets churning out inferior, self gratifying fare.

inspiring story and a truly brilliant movie

[custanius-544-679001 · 8/10 · 1 October 2009]

To be honest, I've never actually finished Li's book. I had the vague idea its about a boy from my hometown that went on to become one of the best ballet dancers, but then, being a Chinese immigrant myself, I'm not particularly pleased with people 'cashing in' on their stories. After all, his story, in fact, was of particular interests to westerners because of the clashes of cultural identities between two worlds, which i and many thousands if not millions more overseas Chinese experience everyday. But after watching the movie, I have to say I loved it. The directing truly captured the struggle of a man torn apart between what 'ought to do' and what 'should do'.

I was born in Qingdao, China.So the connection between me and Li's story is very strong. Mr. Li is just about my parent's generation, so in a way, I can see his struggle in my own world, everyday. Qingdao is never short of artistic talent, to many, artistic talent is the only way out. 'There's no national boundaries in art', my parents used to tell me. When I was five my parents bought me my first piano, which cost them an entire year's savings, but it was seen as a valuable investment, 'art will pave the way to success', they used to say. Like my classmates in the piano class, I used to rise up 5 in the morning and practice until its time to go to school, only to come home then stay practicing until 10. Going to Beijing and to study in one of the national music academy would be many of my fellow classmate's dream. I can feel the pride Li's parents had when he went to America, I can also feel the pain he felt when he decided to stay in America. To Li and many others, to become what he was when he went to Beijing would be everything anyone could ever wanted. What more can he hope to achieve? He could've been the best ballet teacher in China, with fame and fortune to boot, but he threw all that away because of love and freedom. I don't believe it was because of money or fame, it was simply a choice made in a heartbeat by a young man who believes in himself.Was it selfish? I don't know. I'm confronted with this question everyday while I'm in Australia, to many Chinese and spectators, Li's action is selfish indeed, abandoning his duties, his parents and his place in the society pursuing freedom and love in a westerner's world. But the longer I stayed in western world, the harder I ponder that question, what is duty? and more importantly, what is a son's duty to his parents? to his nation? The value system is obviously very different back then, Li, who's seeking individual happiness didn't fit into a collective society like China. But, he also had the fortune to be plucked, trained and nurtured to become what he was. Should he repay his 'debt' by going back to China? or should he capitalise on what he has gained and achieve greater personal glory? It's easy to answer for anyone in a particular value group, but for Li and many Chinese overseas, it can be a life-long dilemma. After all, Li's fortunate enough to be sitting comfortably somewhere in Australia writing his book, many buried talents are somewhere in a dusted corner in China tutoring next generations of wannabe talents. But his fortune also comes from perseverance and handwork, from a heart to pursue what he truly believes in. To that end, the movie tells a brilliant story of a brave young man.

A sure fire Oscar contender

[Casablanca3784 · 5 September 2010]

A charming, stirring, visually and emotionally stirring film. The best I've thus far seen in '10. The story of a mainland Chinese 11 year old boy,supposedly forever indoctrinated by daily school- taught commie propaganda garbage,is chosen to attend a special school to be trained for ballet. He does well and in due time, is sent to the USA to the Houston Ballet Company. Then and there he awakens to not only his manhood but to the realization that all he's been taught about the "glory of Chairman Mao's communist revolution, was the furthest thing from the truth. Not only is the lead a wonderful danseur but his acting ability could win him a Best Actor nomination as well. A film NOT TO BE MISSED.

A Chinese Ballet Dancer Does Good

[3xHCCH · 7/10 · 12 March 2010]

Thanks to Qantas' great in-flight entertainment programme, I was able to watch a very good Australian film entitled "Mao's Last Dancer." I watched it not because of the ballet (which does not really interest me that much), but more about the Cultural Revolution in China which the title seems to suggest.

The story tells the true-to-life experience of a a boy Li Cunxin, born sixth in a poor peasant family with seven sons. He was picked out by the powers that be from a provincial school to train as a ballet dancer in Beijing in the 1970s. In the early 1980s, a visiting American choreographer from Houston noted Li's talent and brought him to the USA to dance, where Li gained fame as a premiere danseur in the short time he was there.

After experiencing first-hand the differences between the living and cultural differences of China and America, Li was faced with a monumental dilemma. Should he return to the motherland to which he had always been taught to be loyal? Or should he remain in his newly found land of freedom and home of the girl he loved?

I really liked the scenes depicting the scenes set in China, rather than those set in the USA. The culture in the community, the filial piety, the rigorous training, the clash of art and politics, even the scene with Madame Mao, were very revealing and touching. Li's conversations with the Chinese consul to the USA were also very interesting.

Chi Cao, who played the adult Li, is a very good dancer, more than he was an actor, but that was quite understandable. He ended his performance of a ballet solo (in "Don Quixote") with such a passionate flourish -- that, for me, was the best dance scene, and Cao's best acting moment in the whole film. I don't know why it was, but every time Li's mother (lovingly played by Joan Chen) appeared on the screen, my eyes would cloud up (which was not too easy to hide in a packed plane, haha!)

Overall, I liked the film. Director Bruce Beresford went a little too melodramatic, but that's fine for me. I do note that most films about that time in China's history would tend to some emotional melodrama. Li's difficult decision makes a riveting conflict, but unfortunately, that part was handled with a rather rushed and simplistic manner, and with a point-of-view that might be biased.

A moving tale that captures the beauty and inspiration of a man forced to make extraordinary decisions

[ChrisThurston · 9/10 · 4 October 2009]

Mao's last Dancer tells the true story of Chinese ballet dancer Li Cunxin who grew up in rural poverty in Mao's communist before being given the opportunity to dance in the West in the early 80s. Li is forced to examine his conscience as he must choose between his career, family, culture, politics and love whilst having to make heart-wrenching decisions of what he must choose to sacrifice and what he must choose to save.

Li Cunxin is played magnificently by Chi Cao (as an adult) as well as Chengwu Guo (as a teenager). Chi Cao, a highly recognised ballerino in his own right, must receive the bulk of the accolades for what is truly a seamless breakthrough performance by a first time actor. The rest of the cast are also fantastic including Bruce Greenwood who plays the difficult and complex part of a slightly camp Ballet Director who must confront his own values.

Kyle MacLachlan ("Sex and the City") takes a relatively brief but delightfully forceful turn as a Houston lawyer and Australians will delight in the cameo by the ever wonderful Jack Thompson.

As an Australian production I was extraordinarily proud. Bruce Beresford has produced arguably his finest picture to date (and yes, I've seen "Driving Miss Daisy") as the pacing, musical score, use of ballet on camera and story structure were all pitch perfect. The film jumps around between 80s USA and Li's Chinese upbringing at the beginning before settling into a groove during the middle and end. And just when the film could be in danger of straining it's audience Beresford delivers moments of levity and humour that remind us of the characters' humanity.

The backdrop of politics against which the film plays is neither ignored nor focused on. Had it gone one way or the other, the film wouldn't have worked nearly so well but Beresford dealt with this delicate theme with such craftsmanship that it never becomes an issue for the audience.

Jan Sardi (who also wrote Shine and the Notebook) has also produced a highly commendable script for what must have been a daunting project - given the success of the book the movie is based on.

At 132 minutes, the film is long and this can be felt slightly in the middle. However, the fault is only minor and I defy any viewer to watch this without being moved by Li's story.

Many who have read Li's memoirs (as I have) will be anxious to know whether the movie does the book justice. I'm overjoyed to say that it does. I openly wept several times in the film as did most of the audience members around me. There were a few subplots and parts of the novel left out but I found that, unusually, this didn't bother me as much as it normally does with movies based on true stories.

This is because the film told the essence of Li's story extraordinarily well in this irresistibly moving telling of one man's struggle as he's caught between two cultures at a time of when they were pushing against each other.

This year's Slumdog Millionaire upstart is Mao's Last Dancer.

Dancing to freedom

[jotix100 · 7/10 · 15 December 2010]

China's cultural revolution had a devastating effect on the way certain works of art were perceived by the people on top. Anything that had to do with the West, was deemed not proper and therefore, not fit for the masses. Ballet, a classical dance expression, became a vehicle for propaganda, as the higher ups wanted the works presented in a revolutionary manner, in tone and content.

A young man, Li Cunxin, showed an innate talent for ballet. Coming from a poor family, he had almost no chances to pursue a career as a dancer, let alone to have been singled out to go to America to study for a limited period with the Houston Ballet, under Ben Stevenson's artistic direction, gave him an opportunity, first to study, and then, to shine as a gifted soloist that conquered the hearts of whoever saw him dance.

Li Cunxin got caught in between his loyalty to his birth country and what he wanted to accomplish as an artist with a great gift to give the audiences that flocked to watch him perform. After making his decision, Li lived to experience his dream, not without sacrificing his desire to be in both places, but was not allowed to be.

An inspirational film by Bruce Beresford, the Australian director that has had a string of hits in America. Based on the autobiography by Li Cunxin, and adapted by Jan Sardi, this production gets a great look from its creators, who clearly that plays with the viewer's emotions as it unfolds on the screen. There have been other great ballet films, but "Mao's Last Dancer" resonates with audiences thanks to Mr. Beresford's intelligent take on the dancing world.

Chi Cao plays the title role as an adult. His dancing impresses because it almost appears to be effortless. Bruce Greenwood playing Mr. Stevenson is one of his best roles in the cinema. Joan Chen, Kyle MacLachlan, Amanda Schull, Camilla Vergotis, and the rest of the supporting cast do a good job for Mr. Beresford, in a film that shows the indestructible will of a man that wanted to bring joy through his dancing. Peter James photographs the production in all its splendor as different ballet pieces are performed.

A beautifully told movie

[jharmon-19 · 10/10 · 5 October 2009]

My husband and I went to see this movie yesterday and thought the acting was great from relatively unknown, at least to us, actors. I had some idea of what the movie was about prior to going to see it but it was even better than my expectations, and the lead actor was a truly magnificent dancer, as were the others.

The story was moving with a few humorous moments, and showed how disciplined a person must be in order to become a great dancer. I have to say it has been my experience that people generally leave before the credits but, like myself, they stayed, which says something for the acting and the movie itself.

I would recommend this movie to everyone, even those who are not fans of ballet.

Heartfelt and enchanting

[macktan894 · 7/10 · 2 October 2010]

This film surprised me in a couple of ways, the first being an unbiased look into China during the peak of its Cultural Revolution--the Mao Era. Americans often view the Chinese as being oppressed victims during this time, but most of the Chinese were in fact committed to their leadership. Earnest and hardworking, many Chinese families believed socialism was a goal that would benefit the many and opposed the individualistic capitalism of the West. In a closed society, Mao was what was known and Beresford respects that period and presents it quite objectively. Western viewers will see these scenes in the schools as more indoctrination than teaching, but the contrast of the two worlds, that of the U.S. and China, are quite fascinating.

And of course we all know that the Chinese don't fool around when it comes to training and learning. Children are chosen quite young to train for the arts or athletics, taken from their families and put in schools for years to learn their craft. We see the results at the Olympics, for example, where the Chinese are always formidable competitors. The govt selected Li as a child to train for ballet, took him from his family and put him in a Bejing school where he danced and trained daily--stretching, jumping, lifting, working out -- until one day he was noticed by a Houston choreographer and invited to study for a couple of months in Texas.

Li's choice to remain in the UlS. isn't deeply examined in the film--it must have been agonizing to resist Chinese pressure knowing that his parents and siblings might suffer as a result of his actions. But we can forgive the shallowness for the beauty of the dance while we watch the actor playing Li move so impossibly on stage.

I wish Beresford had devoted more time to Li's evolution as a dancer and person rather than focused so much on the political and social intrigue, which I would have found more captivating. Still, it's a fine film and of course I cried toward the end. If you love the arts and dance, you'll love this film. Robert Altman's The Company focuses more on dance than love, which makes it for me a superior film. But Mao's Last Dancer is definitely glorious.

Fantastic True Story of a Chinese Ballet Dancer

[claudio_carvalho · 10/10 · 4 August 2012]

In a village of China, the eleven year-old Li Cunxin is selected by the Comunist Party to study ballet at the Madame Mao's Dance Academy in Beijing. Years later, he travels to Houston in a cultural exchange program invited by the artistic director Ben Stevenson (Bruce Greenwood) and he is promoted to principal dancer of the Houston Ballet. Meanwhile he secretly dates and falls in love with the dancer Elizabeth Mackey (Amanda Schull).

When the China's government asks Li Cunxin (Chi Cao) to return to his country, he marries Liz and defects to USA. He is forbidden to return to China and has no news of his parents and family. Meanwhile, his marriage with Liz ends and he misses his parents. But five years later, he has a great surprise during a performance.

"Mao's Last Dancer" is a film about the true story of the Chinese ballet dancer Li Cunxin. The engaging biography of Li Cunxin is an example of discipline and strength associated with courage to make the right decisions, and it is amazing how a boy from a poor village in China could have become a great ballerino in the West.

Bruce Greenwood, Kyle MacLachlan and Joan Chen are well known actors and are fantastic, but Chi Cao, Chengwu Guo and the rest of the cast and dancers have also top-notch performances. Everything is perfect in this film, from the direction of Bruce Beresford to the cinematography and art direction. My vote is ten.

Title (Brazil): "O Último Bailarino de Mao" ("The Last Ballerino of Mao")

A slick and superficial affair

[howard.schumann · 6/10 · 9 May 2010]

Based on the 2003 autobiography of the same name by Li Cunxin, Bruce Beresford's Mao's Last Dancer is the story of a Chinese ballet dancer whose special talent is only matched by his courage and determination to live in freedom. The film opens in Qingdao province in rural China where Li is raised by a peasant family, living with many brothers and impoverished parents Niang (Joan Chen) and Dia (Wang Shuangbao). At age 11 his life is altered forever when he is selected by a group of visiting inspectors to go to Beijing to train as a ballet dancer at Madame Mao's Dance Academy. At first passing Li by and walking out of the classroom, the inspectors are brought back by the class teacher who taps the last comrade on the shoulder and points to Li saying, "what about that boy?" In Beijing, the young Li, admirably performed by Wen Bin Huang as a child and Chengwu Guo as a teenager, faces a harsh training routine from 5.30 am to 9 pm, 6 days a week, but is supported by a gentle old teacher Chan (Zhang Su). His determination is so strong that, to build his leg strength, he hops one legged up and down stairs with heavy sandbags tied to his ankles at 5:00 each morning. Conflict soon arises, however, when a stern Madame Mao insists that the dances emphasize politics and guns and director Chan becomes a casualty of this rigid doctrinaire approach.

Though gradually developing his skills, Li does not adapt well emotionally to being away from his family and cries himself to sleep. Eventually, however, he hones his skills and develops enough emotional maturity to be sent to the United States to dance for the Houston Ballet, becoming one of the first two cultural exchange students allowed to go to America to study under Mao's regime. Chi Cao from the Birmingham Royal Ballet plays the adult Li who is nurtured in Houston by British-born dance director Ben Stevenson (Bruce Greenwood) to become a star dancer. He learns to appreciate the freedom in America, and falls in love with dancer Elizabeth Mackey (Amanda Schull), a relationship marred by dialogue reminiscent of "As the World Turns" and a laughably melodramatic scene where the distraught girl throws herself into bed.

The transition to capitalism is filled with all the usual clichés - jaw dropping amazement at Disco Dancing, ATMs, and shopping malls, quite a contrast we are repeatedly told with his poor peasant village. Unable to have his stay extended by the Chinese authorities, Li decides to marry Elizabeth and announces his intention to defect to America, causing an incident that takes 21 hours to resolve after Li is held hostage in the Chinese Embassy. Only after negotiations at the highest level are concluded is it determined that Li can stay in America but is forbidden to return to China, or to see his parents. It is a powerful sequence and kudos must go to Kyle MacLachlan who delivers a strong performance as Charles Foster, the attorney representing Li during his detention at the Chinese consulate.

Produced by Jane Scott and written by Jan Sardi, Mao's Last Dancer is an inspiring story of determination, courage, and love complete with excellent dance sequences choreographed by Graeme Murphy. Unfortunately however, under Beresford's direction, the film is filled with one-dimensional characters, over-simplified politics, and TV-style clichés. The differences between the brutes of Communist China and the freedom-loving Americans are drilled into us so often and with such heavy-handedness that we begin to question their authenticity, especially since none of America's social, economic, or cultural problems are even mentioned. Although Mao's Last Dancer has some genuinely moving moments, it is mostly a slick and superficial affair, lacking in a core of emotional truth.

Not your average dance film.

[diane-34 · 10/10 · 23 January 2010]

Diane and I saw this excellent movie at Paradiso in Northbridge two days ago and we both were entranced by the beauty and sensitivity of Mao's Last Dancer. I admit that I was none too anxious about seeing this film about dancing but after the opening scenes in rural China and a quick cut to Li Cunxin and early dance years and I had become a total fan of the movie. Beresford's direction married to the acting and dancing ability of Chi Cao result in a movie about dance but that theme is only the canvas upon which this moving and quite dramatic story unfolds. The resulting movie is far, far more complex than I thought as I entered the theatre. Yes, of course, the ballet sequences are glorious to watch but this film, as I said, is not just about dancing. The script explores international politics, domestic trauma, family bonds, interpersonal tension and these are only my random memories. At the start of the film, I could not believe that so many hugely dramatic instances could flow from the life of a young man born into less than salubrious circumstances in rural China. There are many different scenes; Beresford edited the film in fast sequences and the total is amazingly complicated; I am in awe of such a complex life so richly lived. Put Mao's Last Dancer on your must-see list!

Doesn't capture spirit of the book

[Grand Wizard · 5/10 · 28 October 2009]

Paint by numbers formulaic movie for the masses, Mao's Last Dancer fails to capture the poignancy and spirit of the book.

Pointlessly swapping between the US and China story lines, as well as plenty of inaccuracies from the book, the movies fails to deliver.

Characters are not developed in depth, many key moments from the book are not included. The intimacy and tightness with his family and his brothers, the wonder and awe of the trip to US, the conflict between capitalist west and communist east, the harshness of the communist regime, the intimacy with his fellow students at the Beijing dance academy etc are not explored. Overall, a disappointment.

If you read the book, don't bother seeing the movie.

An emotional journey to fulfill a dream

[Gordon-11 · 28 March 2011]

This film is about a young ballet dancer from Communist China, who goes to Houston for an academic exchange. As his horizons have been broadened, he makes decisions that changed his life forever.

It is too easy to criticise China's dark history, but "Mao's Last Dancer" portrays Communist China back in the 1970's in a relatively neutral way. The people, costumes, how people behaved, and the collective mentality are all convincing yet without negative light. I would have believed it if someone told me it was a Chinese film.

Some may say Li was selfish, as his decision could have severely adversely affected his family members in China. It is the struggle between this and the desire to want more of what's in the Pandora's box that makes "Mao's Last Dancer" captivating.

Of course, the plentiful ballad dance sequences are mesmerising as well. I also liked the way Li's English progressed as time goes by. Another striking thing was the lack of subtitles in the most tear-jerking scene of the final emotional climax, as if it is to be felt, empathise and savour, which requires no words.

Well done

[fmwongmd · 7/10 · 11 March 2019]

Well done transnational film with good acting by Chi Ciao and Bruce Greenwood and a tight script.

A Bruce Beresford masterpiece

[brimon28 · 9/10 · 26 September 2009]

This cineaste and balletomane had given up many years ago any hope of ever seeing the dance rendered adequately on film. Enter Bruce Beresford. I suppose every ladies' book club in the English-speaking world has read Mao's Last Dancer, so if you wanted to make a film based on that autobiography, you'd first have to find a brave director. Well, this is it. Linking together life in desolate inner China and a sophisticated western world has been done before. But there is an emotional story here, and the casting agencies deserve enormous credit for finding such competent people. I mean, do you find an actor and teach him to dance, or do you get a dancer to act? Whatever; the lead in this film can dance very well indeed, and his acting is more than competent. I won't retell the story. Just let it be said, that at the performance I saw, most of the audience sat through the credits. Those who left early looked mystifed by the applause. A ladies' book club cum chick flick? I think not. Sure, the tissues were out, but this is one surely exciting film.

I don't think it worth more than 6 stars

[beejames · 6/10 · 14 June 2010]

God save my poor English, let me do this in the easiest way.

First, say something good about this movie.

It's about a dancer, a quite famous one. Although Mr. Li's name was rarely mentioned in mainland China, anybody who works inside the art circle knows a little bit about him. He's once a model to every dancing students in China. After his decision of living in America, everything changed. He's like most of other artists live abroad coming from the Red China, remain as someone called traitor. It's good to have his story filmed and I think it will help his book, an autobiography, asked by people who's curious about that period. This is the first good thing.

As a movie about a dancer, dancing should no doubt take a big role in it. As I see in the movie, those sections from Giselle, Le Sacre du Printemps, Swanlake and event a glimpse of Red Female Troops which is very famous and is indeed created under the direction of Madame Mao. Those dancing sections are long enough and performers are so skillful to handle that. I think it's been a great job for the choreographer who made these dances. Thank to who ever responsible for this.

The script is not so strictly connected to the period, but it's still can be called objective. With some confusion of time and language they use, the basic idea inside the characters are quite real.

So much for praise, and I should move on to criticism.

First is about the book. I don't think these kind of books can be really trusted, though it is called autobiography. People with such background as Mr Li often connects other's stories to their own. I don't mean this affirmatively, since I haven't got any chance to read this book. I just say that there should be some doubts in it. If everything is so clear in it, there shouldn't have been so much confusion in costumes, buildings, ideas which are showed in the movie. I hope these confusions are from the script writer or other crew members who are not so familiar to Chinese situation in that period. It had been a great change after Chairman Mao's death. The clearness of time and policy connected to that will be very helpful to people who watch this movie.

Secondly, I want to say that the part in which Mr Li's parents was brought to Houston to watch a ballet performance is to affected. It's totally beyond what will happen to Chinese. In such circumstance, most Chinese will still act restrained. Also the last part where Mary and Li dance under a red flag. It's just stupid. The director should really cut this part out instead of the rehearsal of the revolutionary ballet scene which is now edited out but kept in the bonus section of published DVD.

Still it's a worth seeing movie. But I really think it doesn't worth more than six stars.

Equal parts depressing, heart-warming, gut-wrenching and uplifting, Li's tale was meant for the big screen.

[Troy_Campbell · 8/10 · 1 October 2009]

Never having read the book, and only vaguely knowing the story from the trailer, I went into Mao's with a clean slate. This was for the best I believe. Other than the major moment in Li's life – his refusal to leave America – I was unaware of what was to come and as such felt the full effect of every emotional twist and turn that Li, and those around him, took. Equal parts depressing, heart-warming, gut-wrenching and uplifting, Li's tale was meant for the big screen.

Bruce Beresford's (Driving Miss Daisy) direction is occasionally hampered by over-indulgence, a small price to pay for allowing the free-flowing ballet performances all the air they need to breathe. When focussing on the younger Li in China it is slightly clichéd (even the score sounds somewhat stereotypical) and run-of-the-mill, however by the time we settle in on the adult Li, Beresford has really hit his stride and delivers an absolutely engrossing and affecting film. The tears may flow for a lot of people, but these scenes are authentic and touching, escaping the melodrama that often rears its ugly head at those moments.

The drama plays a big part in this extraordinary tale, although it wouldn't have worked if the mesmeric dancing wasn't front and centre. Without these sequences showcasing what the ballet virtuoso was really capable of, we wouldn't be able to believe the lengths these people went to just to ensure Li got his chance to shine. Fortunately, the resplendent performances we witness are breathtaking and show-stopping; each terpsichorean routine able to tell an entire story whilst allowing Li an outlet for his deep emotions.

In his first ever acting role, the Beijing Dance Academy and Royal Ballet School student Chi Cao doesn't so much as act as Li Cunxin, he is Li Cunxin. At first glance his silly sounding broken English and awkward attempts at romance seemingly come from lack of acting experience, but then you slowly realise this is what the real Li was most probably like. As Ben Stevenson, the venerable Houston Ballet artistic director who campaigns for Li to study in the U.S., Bruce Greenwood displays terrific diversity, his portrayal is elegantly realised and he ensures Ben's culturally savvy and flamboyant personality stops just short of being priggish. Elsewhere we have fine performances by Joan Cheng, Chengwo Guo and Ferdinand Hoang, with Amanda Schull and Kyle MacLachlan proving the weak links.

Get through the slow first 30 minutes then be prepared to be swept away by an epic real life saga that is best viewed at the cinema.

4 out of 5 (1 - Rubbish, 2 - Ordinary, 3 - Good, 4 - Excellent, 5 - Classic)

stories worth telling

[SteveSkafte · 7/10 · 13 April 2010]

I'm not a particularly big fan of ballet. Thankfully, "Mao's Last Dancer" provides much more than just that. Bruce Beresford constructs the sort of film that's really hard to find these days - a quiet, personal story that focuses on the actors. This is what Beresford does best, despite the fact that's he's made many other, extremely uninteresting types of films as well. This a return to form, seven years after his last good drama, "Evelyn".

The star of this movie, Chi Cao, isn't an actor. At least, not strictly. The fact that he is a dancer, and a very good one, is essential. I found his performance to be very convincing, all the nervous subtleties of the character drew me in immediately. Bruce Greenwood is interesting in a slightly effeminate role as the dance teacher. Much of the acting doesn't reach as far as it might, but that's okay. It all fits.

I realize I might not sound that passionate about "Mao's Last Dancer", but it is a wonderful story. Just a little too light on conflict for my tastes, even with all the Communist China-related events. It feels like a good short story, really. One you're glad you read. I would greatly love to see more films of this approach being made. It's too rare just to see a real story on screen.

Hits all the right notes!

[aharmas · 9/10 · 28 August 2010]

It's by no means the perfect film; however, when it works, your heart will soar, and you might start believing in the magic of movies again. It's been a great year for showcasing classical music, framing it with hilarious comedy, such as "Le Concert", and now with the beauty and exuberance of ballet in "Mao's Last Dancer", a beautifully told real-life story of a man who opens his mind, heart, and see his dreams come true.

Raised in Communist China, a young man's strong and determined spirit make him climb higher and higher in the competitive world of ballet. With his true and remarkable talents, he conquers obstacle after obstacle, while being lucky enough to have some key people's love and support behind him. Still, it's not an easy journey to fame and fortune.

Somehow, his experiences in Houston are presented a little bit too sanitized, as he assimilates rather quickly into a very foreign universe for him. This is after all, Texas, and he briefly mentions to some derogatory comments, which are rather quickly brushed away by his mentor.

There are some gorgeous moments in the film, mostly involving the presentation of his astounding talents, and some emotional, climatic scenes that are bound to leave everyone in the audience misty-eyed. Bruce Beresford is back again in top form and it's very likely he will be mentioned later on in the year's award race for this is a theme he knows very well: Human spirit's indefatigable power. Be warned, this film will move you and probably lead you to believe just that.

You would be hard pressed not to want to pirouette down the aisles

[phantom_fan89 · 7/10 · 27 November 2009]

Just when we thought all was lost, the Australian Film Industry is provided with a flicker of hope thanks to the release of Mao's Last Dancer.

The film chronicles the rise of Ballet star Li Cunxin. As the impoverished son of peasant laborer's in Communist China, Cunxin is plucked from obscurity to attend The Beijing Dance Academy. Chosen to represent his country as an exchange student for the Houston ballet, Li soon begins to question the Communist dictates on which he has been raised.

Whilst Mao's last dancer is one of the best Australian produced movies to emerge in about a decade, it is not without it's flaws. Bruce Beresford's direction is rather hit and miss. Whilst producing many heart warming scenes coupled by beautifully shot dance sequences, many moments that should come across as highly dramatic fall somewhat flat with others feeling more contrived than organic. Screenwriter Jan Sardi's script consistently builds dramatic tension throughout, such as when communist party dictates begin to infiltrate the dance academy as well as Li's standoff at the Chinese embassy, only to have such story arch's be resolved with disappointing anti climaxes.

Despite the scripts faults, Beresford deserves a pat on the back just for tackling the project considering he had the unenviable task of finding a bilingual actor who could carry the picture whilst needing to be one of the best ballet dancers in the world. His prayers were answered when he came across Chi Cao who not only bears a striking resemblance to the real Cunxin but also attended the Beijing Dance Academy where Li was taught his craft. Cao's acting inexperience is obvious in certain scenes, but his natural charm, screen presence and undeniable dancing talent makes him an extremely likable protagonist who the audience longs to see succeed. The casting of Amanda Schull is rather more questionable. Thirty year old Schull, known mostly to audiences as Jodie Sawyer in Center Stage, is rather miscast as Li's eighteen year old love interest Elizabeth. Although Cao is also thirty in real life he is far more successful in pulling off Li's youthful naivety than Schull is at Elizabeth's. At one point in the film when she informs Li that she's a virgin you can't help but think... really? After watching her set the screen on fire with her dancing prowess in Center Stage it is almost cruel to cast her once again as a ballerina and not have her dance a single step throughout. The film possesses a strong support cast that includes Bruce Greenwood as Li's American mentor and Kyle MacLachlan as a savvy international law attorney. Their performances enrich the movie and add much needed weight to this independent production.

Mao's last Dancer is beautifully shot, particularly in it's dance sequences. Beresford uses a unique blend of live action and slow motion capture shots to fully encapsulate the performances. The cinematography by Peter James also assists in elevating the routines and is never so effective as when capturing the vivid Chinese landscape.

One of the best attributes of Mao's Last Dancer is the hauntingly beautifully and often rousing musical score of Christopher Gordon. It is rather criminal that more than likely Gordon will be overlooked at next years Academy Awards-mostly due to the fact that the film has yet to garner much attention outside of Australia- as his original music is amongst the most beautiful ever to be committed to celluloid.

Despite it's flaws Mao's Last Dancer is a thoroughly enjoyable piece of entertainment. This can mostly be attributed to the story of Cunxin itself, which is so inspirational and uplifting that it would be almost impossible not to leave the cinema without a smile on your face and a fervent desire to do a pirouette. For more reviews please feel free to visit http://rantsreviews4filmnuts.blogspot.com/

Nostalgia

[jhcopywriter26 · 9/10 · 20 January 2012]

As a former ballerina for Houston Ballet, I couldn't wait to see this movie and how that time period would be shown. I have not read the book yet but hope to soon. The actor who played Li was wonderful. He reminds me very much of Li as a person and dancer, as I knew him from that time. There are some time line goofs and I certainly remember the craziness when he went missing. I won't say much else about the personal part but I did like the movie as an artistic venture. I can tell you that I would have loved to have seen the night Li's parents came to see him dance. Unfortunately, I had already left the company. In watching the movie, it was a very touching scene. The memories just come rolling back ... A job well done, Li.

A fairy-tale life improbably climaxing in Texas.

[rowmorg · 7/10 · 19 November 2013]

Beautiful dancing by the lead and by the two prima ballerinas displayed, one of whom the lead married. That's what the film is really about --- including the revolutionary ballet commissioned by Madame Mao and applauded by her. It also shows the rigorous training of the boys (and girls) for many hours per day with little let-up. Cunxin last saw his parents when he was 11, and then not again until he was in his late 20s. Teacher Chan, who was keen on traditional French-style ballet, got the boot and was sent into the hinterland, while the keen Maoist teacher led the college into revolutionary dance with guns. Cunxin was mistaken for a keen Maoist and actually allowed on to an intern program at Houston Ballet for three months. A real babe (who was not much of a dancer compared to him) attracted him into her honeypot and they married and set-off an international diplomatic incident as the consulate attempted to seize him and send him back to Communist heaven. After he was released Cunxin's marriage fella apart, he went on to stardom, married his new Australian prima ballerina partner and moved to Australia, hence the Australian movie by Bruce Beresford. It's quite a life. I thought the movie was spoiled by Bruce Greenwood mincing around with his over- pretty face and ridiculous fur overcoat with massive flaps, but that's just me, I suppose. Recommended.

Paint by numbers for the masses---basically garbage

[filmalamosa · 1/10 · 23 September 2012]

I should have trusted my instinct and avoided this movie based on the title. I pictured some sort of feel good propaganda capable of passing Chinese censorship.

Li Cunxin a Chinese ballet dancer catches the eye of Ben Stevenson the Houston ballet director who is touring China in the 1970s. Ben brings him to the US as a student and makes him a star. Li marries and defects. In the end he is reunited with his family and makes a glorious visit to his homeland with his second wife. In the final scene he and his wife (also a ballet dancer) freeze in the cliché triumphant glory pose (arms together pointing to infinity) of Chinese opera. It is sickening.

Another reviewer said this was paint by numbers for the masses-- Basically accurate. It made millions at the box office. Every cliché known to the genre is in this thing....the sudden need to replace the lead dancer hours before curtain call. The wise sage teacher who supplies the magic anecdotal encouragement to motivate a discouraged student. This is an autobiography--where are the negatives that would make this guy human? The excessive ambition maybe a few dirty tricks he regrets--none of that.

I personally hate movies that throw up signs on how the viewer is supposed to feel and think every 10 seconds.

The acting directing and story is cheesy (overdone inauthentic exaggerated) Ben Stevenson (Bruce Greenwood) gets an F for unconvincing gay mannerisms he should have studied Paul Lynn.

One flaw of Netflix Streaming is you cannot fast forward...however with about an hour to go I began to skip ahead 5 minutes at a time-- it is that bad.

DO NOT RECOMMEND

Curiously mixed success.

[Mozjoukine · 13 October 2009]

Lots of spoilers!

This is a film that's irritating and rewarding in equal measure.

The first half is fascinating though it is unshaded China bashing, like BALZAC & THE LITTLE SEAMSTRESS, which also puts Western culture against Asian oppression in simplistic terms. Clara Law's REINCARNATION OF GOLDEN LOTUS or FAREWELL CHINA are better, showing imperfect people twisted by the horrors of ideology run amok - more convincing, more involving. The new film's sensibility is of someone with a season ticket to the ballet rather than an Asian heritage. However this is a film which will reach people who would never seek those out.

It certainly has it's moments. The business of the secret Nureyev VHS is great and Chen sending the village officials on their way is worth a cheer. The Madam Mao figure demanding the gypsy-musical ballet be re-figured into a People's Opera is sharper on ballet than anything since the Herman Ross NIJINSKY and carries on through, with the Americans commenting that what they see is more like athletics.

However the thing which should be the heart of the piece, the lead weighing up what he's believed all his life against what he finds in the US, is frustratingly reduced to a few mall bought consumables and a virginal blond.

The film has it's strengths - MacLachlan's performance, the montages, the dream of an execution at dawn are stand outs, some of the ballet material is striking but the big finale with the suspiciously brief performance, followed with the on-stage reunion with the family, again lacks all the culture shock material that the film could have pivoted on and that Asian films that deal with the subject foreground.