(footsteps)
MAN 1: (in Russian): You knew. MAN 2: (in Russian): No.
MAN 1: You knew what he was planning to do.
No.
You're saying he never spoke of defection?
The subject never came up.
He never spoke of it?
Never.
This is an attack
upon the Soviet Union.
No.
It's about dance.
Dance?
He knows nothing about politics.
He's gone to the West because there he can dance.
He could dance here.
Hm... Yes, but...
I think it's likely he had an explosion of character.
That's who he is.
(train rumbling and squeaking)
(low chatter)
(goat bleats)
(train rumbling and squeaking)
- (muffled singing) - (steam hisses)
(ongoing chatter)
(card players mutter)
(woman panting and moaning)
(chatter in Russian)
(woman panting)
(woman groans)
Mother will recover.
Argh.
- Argh. - (others speak Russian)
(urgent chatter)
(moaning and panting)
(groaning)
- (urgent chatter) - Aargh!
(wind whistling)
(wind gusting)
Rudi.
(in Russian): After immigration return your passport.
Spasibo.
(jet engines whining)
(announcement in background)
(flashbulb pops)
- Merci beaucoup. - Enchanté.
- (cameras clicking) - Merci, monsieur.
Monsieur Sergeyev, Madame Dudinskaya,
it's a great pleasure to welcome you both to France.
This is a historic moment.
This is the first time since the war
that Leningrad's famous Kirov company have been seen in the West.
Do you think this visit is going to have a positive effect on the Cold War?
(in French): We are delighted to be here.
(applause)
(lively chatter)
- (bus engine humming) - (low chatter)
(laughter)
(chatter)
Spasibo.
Rudi. Rudi!
Where are you off to?
For a walk.
Want me to come with you?
Mm. Class in two hours.
I won't forget.
Keep an eye on him.
(dramatic classical music)
(low chatter)
- (waiter speaks French) - Yes.
Mm-hm.
(in French): Where are you from?
- I don't understand - Ah.
Where are you from?
- Soviet Union. - Ah.
Dancer. Here five weeks.
Hmm.
You can help me, please?
- Help? - Yes. Yes. What you want?
Shop.
Shop to buy things.
Special shop.
I need toy train.
(wind gusting)
(train whistle toots)
(train rumbling)
(bus engine rattling)
(brakes squeaking)
(engine off)
(lively chatter)
(chatter in Russian)
I have a place - I'm dancing!
(conversation in Russian)
Have you seen the list?
- I haven't looked. - It's posted.
I still haven't looked.
Don't you want to know? Sergeyev's not giving you the first night.
Rudi...
I'm very sorry.
What difference does it make? It's not going to take long.
What's not going to take long?
Until everyone knows who I am.
- (she laughs softly) - (teacher speaks Russian)
(gentle piano music)
Arms soft. Soft arms.
(fluttering)
(horn tooting in distance)
(birds singing and screeching)
(muffled chatter)
(door opens nearby)
What are you doing here?
Are you in charge?
I'm Valentin Ivanovich Shelkov.
I'm Rudolf Nureyev.
I'm here to dance.
Are you out of your head?
I've been accepted as a pupil.
I've come from Ufa.
Really?
You've got the wrong date.
Come back in a week.
(door clunks shut)
(gentle piano music)
This is where you will all be living.
(piano music in background)
(thud)
(piano music)
Young man, turn your head.
And lower your shoulder.
Pour les pieds.
RUDI: It's not working for me. MAN: What do you mean?
What I say.
It's not working.
The school is not for you?
You only arrived a few weeks ago.
Four.
The Leningrad Choreographic School
is thought to be the greatest ballet institute in the world.
You're the first pupil to complain.
Shelkov says your technique is inadequate.
You lack control. You're clumsy.
We know you're talented, but you're old.
That's why I have to catch up.
You're way behind.
I'm 17. I have to do six years' work in three.
Mm. Well? What's stopping you?
I'm ready to work.
But not with Shelkov, is that what you mean?
Mm.
Ballet is about rules.
It's about discipline. It has to be.
That means it's about obedience.
Only through discipline can you find freedom.
I'd rather die than live under the rules.
One day you might be good enough to say that.
You're not good enough yet.
Far from it.
I believe I would progress faster with another teacher.
Which teacher do you have in mind?
(muffled chatter)
(low chatter)
- Hello. - Hello.
- You're Rudolf Nureyev? - Yes.
I'm Alexander Ivanovich Pushkin.
You'll find some space over there.
Take a bow.
(romantic piano music)
- Is everybody warmed up? - Yes.
Boys, as usual, two demi pliés and one grand plié in each position.
Get ready.
Please.
(gentle piano music)
Bend back, further back.
Hold your back straight.
Fifth position.
Assemblé.
Assemblé sauté.
(instructs in French and Russian)
Et changement.
(jaunty piano music)
(feet thumping on floor)
(alarm rings)
(alarm off)
(he sighs softly)
(raised voices outside)
Sleep, sleep, sleep.
(birds chattering)
(rain pattering)
(voices in distance)
(clattering and fluttering)
When does it open?
(in French): What?
Open?
- Ouverte? - Ah.
- (speaks French) - No.
Stay here.
I'm here for The Radeau.
- The Raft? - Da.
I want The Raft to myself.
(children playing rowdily)
Rudik! Come and join in!
Rudik.
Rudik!
Come over here.
- Are you all right? - Yes.
(speaks Russian)
Mm-hm?
Hm.
(scuffing and thudding)
(feet scuffing and thudding)
(barre creaking)
- (he exhales) - (feet scuffing and thudding)
(barre creaking)
(scuffing and thudding)
(feet scuffing and thudding)
(footsteps)
Am I pleasing you?
I'm sorry?
You never say anything to me.
Oh.
I just want to know if I'm pleasing you.
You don't displease me.
Is that all you'll say?
Listen, you're an intelligent man.
Work it out for yourself.
When you please me, you'll know.
Steps have a logic.
You need to find that logic,
not to force it.
One step follows another, with no impression of haste.
Or effort.
Steps follow. And belong.
They...
are interconnected.
Thank you.
(traffic passing by)
(murmur of chatter)
Monsieur?
(in Russian): This is impossible.
Why aren't we talking to each other?
This is ridiculous.
I know who you are. You are Pierre Lacotte.
- How do you know me? - And you are Claire Motte.
I know faces of dancers.
I see you in dance magazines.
I study.
We were wondering if you were allowed to speak to us.
I decide to build the bridge. Rudolf Nureyev.
(laughs softly)
You are with the company? Did you dance tonight?
If I had danced, you would remember.
Oh. (chuckles) So, what did you think of the performance?
- I wasn't there. - Oh, you missed it?
- I went to concert instead. - Good concert?
Yehudi Menuhin. He play Bach. Not bad.
- You speak very good English. - I take teacher. In Leningrad.
I pay him.
I want not to be deaf and dumb when I come to West.
- It would be nice to talk about ballet. - Yes, about ballet. I'd like that.
Santé.
(murmur of conversations)
(Natalia instructing in French)
(she instructs in French and Russian)
(speaks Russian)
(delicate piano music)
NATALIA: Rudi.
(music ends)
Ladies, fouettés, please.
(piano plays)
(door clicks open)
(lively chatter)
How was your class?
We have various outings planned.
All the main sights.
The Louvre, The Eiffel Tower, Notre Dame.
Organised trips.
That's nice.
You haven't forgotten the company meeting,
before we left Leningrad?
- I never miss a meeting. - Mm-hm.
We agreed we go together on the bus.
Shall I put you down?
Yes, of course.
(chatter in Russian)
(bird fluttering)
PIERRE: This is my favourite spot.
I find I always have it to myself.
What do you think?
It's always Russia.
It's always the Russians. The French invented the ballet.
But the energy always comes in from the East.
What are you saying? I don't understand.
What you do is not technically perfect.
Sometimes it's even a little bit clumsy.
But its spirit is perfect.
You take the stage and that's more important.
Only one thing can stop you at your premiere and that's fear.
I shall fight fear.
(door creaks)
My husband said you've not been looking after yourself.
I brought you some soup.
It's not bad.
He said you don't eat with the others.
A dancer needs to look after his body.
Hm.
He says you react like an animal who's been brought into the house.
I didn't know he'd noticed me.
Oh, yes, he's noticed you.
This is French onion soup.
Not quite how they make it in Paris.
Not the right cheese.
You've been to Paris?
No.
Have you been to London?
I've only read about them.
Which city is better? Paris or London?
Better for what?
- Better for life? Better for ballet? - Everything.
They say Paris is more beautiful - but London is special too.
People know more about ballet?
Maybe.
- Your husband is a good man. - Da. I think so.
His class is two holy hours.
Eat the soup.
Don't worry, you will see Paris one day.
♪ La Bayadère 3rd Shade Variation
(music builds in intensity)
(music continues to build)
(music fades)
(exhales)
Sleep.
I'll come back soon.
(door opens and closes)
(wind gusting)
(orchestra begins playing)
♪ La Bayadère Solor Variation
(music ends)
(audience members shout approval)
- Bravo! - Bravo!
OTHERS: Bravo!
(cheering and applause)
(cheering continues)
(company applauding)
PIERRE: Bravo! Bravo! - (she speaks Russian)
Spasibo.
- (she speaks Russian) - Spasibo.
- You fought fear. - Yeah.
(in French): You were spectacular!
- Bravo. - Thank you.
This is my friend, Clara Saint.
Clara Saint.
I like that name.
- Rudolf Nureyev. - It was wonderful!
Thank you.
Is there any chance we could all have dinner tonight?
- I can ask. - Mm-hm.
- He said OK. - Yes!
But I have to take someone with me.
- Chaperone. - (others chuckle)
(chatter)
(speaks Russian)
Ah.
- This is my friend, Yuri Soloviev. - Hello. Pierre.
We share room at the hotel. He eat with us.
(women speaking Russian)
Rudi, are you coming with us?
- Not now. - That's a pity.
(piano music and chatter)
PIERRE: You must be well-known in Leningrad.
You must have been the first choice.
RUDI: There was opposition. CLAIRE: Opposition?
People against me. They not want me in Paris.
Why? Why did they oppose you?
Sergeyev don't want me to come.
Very against. Doesn't like me.
But I don't understand. If the head of the company doesn't want you,
- why are you here? - Obvious reason.
Have to show the world Kirov are the best.
How do that without best dancers?
Yuri and me. Yuri even better than me.
PIERRE: But you're allowed out? - Say again?
The dancers? Are you allowed out on your own?
Here we are.
Yeah, but that's not what I'm asking. Is it allowed?
We're told not to speak to foreigners. Especially not foreign dancers.
Not to go out with them. Not to eat with them.
Don't talk. Don't discuss. Stay together.
- Socialists only. CLAIRE: Aren't you frightened?
What can they do? Can't stop me in the street. Can't arrest me.
No, but when you get back home, can they make your life difficult?
I have an obligation.
What sort of obligation?
See as much as possible. Learn.
- Oh, what do you want to see? - Picasso. Matisse. Rodin.
Go every day. New painting. Look.
Really look. See what it teaches.
Mm. It's important? Important for your dance?
Vital. Vital for the dance.
- I went to the Louvre. - What did you see?
The Raft. The Raft of Meduse.
Yes, of course.
- Why you smile? - (Claire chuckles)
Oh, because it's beauty made out of ugliness.
It's reality but it's also art.
It's shocking but it has... great, great authority.
So now you know why I smile.
RUDI: He doesn't understand English.
CLAIRE: English? You don't speak?
(chatter)
You're not drinking?
No.
You're not talking?
I'm sorry I'm poor company.
I've been taking Valium.
Valium?
It's a drug.
My boyfriend died.
He was killed in a car crash six days ago. With his brother.
They had been diving in Corsica.
They were driving back.
How old?
21.
What was his name?
Vincent Malraux.
Famous name.
His father is André Malraux. He's Minister of Culture.
He write a great book. La Condition Humaine.
You've read that? It's available in Russia?
We're not idiots, you know. We're not provincials.
I've been alone.
I couldn't go out.
I couldn't face anyone.
It's Claire who forced me tonight.
She said I had to see you dance.
For those three hours...
..I forgot Vincent was dead.
I'm better than...Valium?
(she laughs softly)
Much.
RUDI: You work?
I don't know what to do with my life.
You have to decide.
Important you decide.
Everyone must have a purpose in life.
Otherwise...what's the point?
When did you find yours?
I went to the opera.
When?
I'm six.
My mother win lottery.
She win one ticket for Opera House. In Ufa.
My three sisters, mother, me... we go together.
Five people...
..one ticket.
You got in?
- Yes. - All of you?
I love the chandelier.
The velvet curtain.
The smell.
The people together.
I think...
.."That's my life."
I was skinny boy.
Alone.
Always.
They call me..."White Crow".
- (phone ringing) - (chatter)
All right, what did you see?
(clock ticking)
(ticking fades)
(muffled voices from upstairs)
(buzzing)
- You came. - Liuba.
Hello. Cakes.
Thank you. Come in.
(laughter and chatter)
Everyone, attention.
This is Rudolf Nureyev.
We met at the Leningrad Choreographic School's graduation evening.
He's a dancer.
Hello, everybody.
Hello.
And also - he says he's been going to the Hermitage every day.
- He goes to the Hermitage every day? - Yes.
And - I told him a lot of us spend time in the Hermitage.
And that we all like to meet every Sunday afternoon,
a whole lot of us, to talk, to talk about...
all sorts of things -
life, art, science -
and that he would be very welcome to join us.
I won't stay long.
Stay as long as you like. Everyone else does.
- I don't want to be a trouble. - You're no trouble.
This is my brother Leonid, we are twins.
Hello.
Your sister started telling me about Rembrandt.
- I want to find out as much as I can. - Mm. Rembrandt?
Leonid's a student at the Polytechnic, like me.
I will have a drink and then go.
No. Have a drink and stay.
- C'mon, sit with us. - C'mon, c'mon.
(lively chatter)
(gentle guitar music playing)
(laughter and chatter)
- (they sing with guitar) ♪ V Lunnom Siyanii
It's a good time. There's never been a better time.
What, just because we're going to send a man into space?
- (chuckling) - If you think about it,
the Soviet Union's not even 50 years old
and yet we've caught up.
- Ahead of the Americans! - (laughter)
Yes, ahead of the Americans - yes!
We went through terrible times.
But they're over.
The bad times are behind us now.
(glasses clinking)
Rembrandt Harmenszoon van Rijn, born in Leiden 1606.
One of nine children.
Father a miller, mother a baker's daughter.
Introduces a new style of portraiture.
(whirring)
- What do you think? - They look all the same to me.
Not the same. All different.
- How big is your apartment? - Small. Very small. And have to share.
Well, then, how come you need so much track?
See that one, please.
- This? - Yes.
If you're going to ask stupid questions, better I do it alone.
- This shop is not good. - (she laughs)
Do you take this long about everything? Are you this rude all the time?
You sit down over there, shut up.
I want to see everything you have. I demand it.
I want a train. A good train.
The best you have. Stop showing me rubbish.
(she speaks French)
Do you have trans-Siberian express?
(click, then whirring)
(they laugh)
(he speaks Russian)
(switch clicking)
(whirring)
(they laugh)
Are you all right?
Yes, of course. Why?
(dog barking in distance)
(footsteps crunching softly in snow)
(door bangs)
Rudik, your Father has returned.
Come and greet him.
(scuffing and thumping)
I was wondering if perhaps you'd care to eat with us.
Eat at your home?
I've spoken to Alexander Ivanovich about it.
I'm afraid our quarters are very modest.
He wants me to come?
(classical music playing)
We're here.
Come in.
Ah, Rudolf, yes, good.
Please, there's no need for you to get up.
I want to get up. And anyway you're here to eat.
Over here.
Sit?
Xenia tells me she's been looking after you.
I hope you don't mind.
Why would I mind?
I am of course interested...
Spasibo.
..do you ever think about...
..the purpose of dance?
- The purpose? - Yes.
Nobody thinks about this.
It's true.
Why dance?
To take the audience somewhere else.
- Somewhere new. - Yes, of course.
But why?
Escape.
Just that?
Is life that awful, then?
And escape to what?
You see, all the time I'm teaching technique.
That's all I do.
However,
it is good to remember -
technique is only a means,
not an end.
"Oh, he leapt perfectly."
So what?
"Oh, she raised an arm, it was perfect."
So?
We spend so much time on technique.
It's all we think about.
What should we think about?
Story.
What story do we wish to tell?
Why do so few people ask themselves:
"What do I wish to say?"
(dramatic piano music)
You need to let your feelings pour out.
Let's stop here.
Be more expressive with your body.
Story, you see.
Pure story.
Unless you have story to tell, you have no reason to dance.
I took the...feminine.
That's what I did.
Hard to say in English.
Try, Rudi.
Before me, male part...boring.
Man only stands, does nothing.
Women...
leap...
jump...
turn.
The man...
(she laughs softly)
I ask why not man be like woman?
I took from the woman.
♪ My dear sir, please take your hand away
♪ No, indeed, I guess it's not your day
♪ You're just wasting my precious time
♪ Guys like you aren't even worth a dime
♪ Step aside and let me by or else I'll blacken up your eye
♪ You just ain't my kind of man and, baby, that's no lie
♪ Baby Buns is what they call me when I pass
Watch.
♪ All those fellas whistling, looking at my ass
- ♪ I've had enough - (he laughs)
♪ Why can't a gal be left alone just cos she struts her stuff?
♪ There's always some dodo right there who blocks my way with his dumb stare
♪ I know my baby buns are cute but it's not fair
I knew you'd like it.
Is it always this good?
Always.
It's none of their business.
You grieve how you want.
- Hm. - (music continues)
(low chatter)
Sit down.
I received this letter.
(speaks Russian)
I am being sent to the Ministry of Culture
of the Bashkirian Soviet Socialist Republic
to apply there for future work.
Yes. So?
This will kill me.
I don't want to go.
It doesn't matter what you want.
Do you know that I've been offered three different places?
- I didn't know that. - With three different companies.
The Bolshoi wants me.
One day you can go to the Bolshoi in Moscow.
Why not?
But first you have to go and dance in Ufa.
If I go to Ufa, I'll never go to the Bolshoi.
I'll be too old.
Who do you think paid for your education?
Your parents?
No.
The State paid for you.
Soviet people.
Isn't it time you did them the favour of saying thank you?
Artists have responsibilities just like everyone else.
What, you think you're above society?
Go on, tell me.
For three years, you've only taken.
Now you have to give something back.
I give back on the stage.
Yes - in Moscow, in Leningrad, you're happy to go there.
But what's wrong with Ufa?
- Do you look down on the people? - No.
Your little home town.
- I give something no one else can give. - Well? Who made you?
Where do you come from? Who raised you?
How can you be like that?
(door opens)
Why are you looking so miserable?
You know very well.
Everyone knows.
I want you to dance with me, Rudi.
What?
Where?
At the Kirov, where else?
Did no-one tell you? I've been ordered back home.
To Ufa.
Forget about that.
What are you saying? I went to Moscow to plead.
I'm asking if you want to join the Kirov.
Not in the corps de ballet.
Partnering me.
Partnering?
A younger man...
and older woman. Always a good combination.
I'll make you look talented,
you'll make me look young.
Shall we try?
Wait. Explain. What happened?
Somebody spoke on your behalf.
- Who? - It's not important.
- Just be grateful. - How? How did they do it?
Not by spitting in anyone's face.
Artistic strategy, Rudi.
(delicate piano music)
Spasibo.
Hold my wrist, and then my hip.
Like that.
Little closer. Play, please.
(piano resumes)
(she speaks Russian and French)
Look, look in my eyes.
(birdsong)
What happened?
Are you here to ask stupid questions?
- No. - Everyone knows what happened.
I fell.
I fell!
I'm going to get you out of here.
You're going to leave hospital.
You need personal care.
They say I won't dance for two years.
They're wrong.
And don't look at me like that.
(they speak Russian)
- It's impossible. - (she laughs)
No. We'll do it.
We'll live together until you're well.
I'll look after you.
(she exhales)
(door opens)
BOTH: Good night.
(snow crunching underfoot)
Give me a hand.
(fire crackling)
Wait for me here.
Papa.
Papa!
CLAIRE: This is it. This is La Sainte-Chapelle.
Are you all right?
I'd like to live here.
Rudi...it's not so easy to live in a church.
- I'm serious. - Yes, so am I.
(footsteps approaching)
It was bound to happen.
Sooner or later.
Inevitable.
It's not right.
You need to do it.
Good evening.
Join me.
You've got to be fair to me, Rudi.
I want to get to bed earlier.
(cigarette lighter clicks)
And, what?
You think I bear down on you?
Doesn't it occur to you I have someone bearing down on me?
They're all over me.
And they are much less pleasant than I am.
Look at it through my eyes.
I'm trying.
They want to know why I'm putting up with it.
You don't just damage yourself with your behaviour.
You endanger me.
Is that it?
No.
It's not.
You go out every evening with this...
Chilean girl.
She's a friend.
You go and watch naked girls?
It's fun, Vitaly Dimitrivich.
Fun?
And wealth is fun, is it?
No.
She's going to inherit a fortune, is that right?
You like that, do you?
You like it.
You like the capitalist life?
You stay out all night walking with her.
We've a lot to talk about.
Not just her.
Specifically:
Western dancers...
Western intellectuals.
(laughter and chatter)
Rudi, it's bedtime.
Well?
- They're just as late as I am. - Mm.
Why aren't you talking to them?
Because I'm speaking to you. You have a record.
I'm not interested in politics.
How long will you dance?
How long?
How many years?
How long do you see yourself dancing?
20.
30.
And you want to travel abroad in the future,
you want to show the world what you can do?
This could be your last trip,
if we decided to bring a charge against you.
What charge can you bring?
Please.
Don't test our ingenuity.
(Strizhevsky chuckles)
This is a formal warning.
I'm saying it so that when we get back to Moscow,
I can say: "I gave him a formal warning."
- (writing) - 5:15am.
May 27th,
1961.
Agree?
(he exhales)
Tea is ready.
We need to get you some decent clothes.
You're a leading dancer at the Kirov.
(chatter)
- Spasibo. - (chatter in Russian)
Teja - come on.
Good luck!
(clicking)
(camera whirring)
(projector whirring)
You see, I told you...
You're right.
The line isn't right.
I'm not as good a dancer, but...
even I can do it.
(orchestra playing)
The leg should be straighter. Look.
And the head should be higher. Far back.
Yes.
Da!
(applause)
I can do better.
Speak English.
I can do better.
I will.
- Good? - (chuckles) Yes.
(lively chatter)
(they speak Russian)
That was magnificent!
You've never danced better.
Did you feel the injury?
No.
- You see, I said I would cure you. - (laughs) Da.
We can walk home together.
Do you think we can do that?
You're only guilty if you choose to be.
I don't choose to be.
See you at home.
Why are you still there?
Where?
At the Pushkins'.
(in English): Why are you there?
Hey, I've asked a question. Can I have an answer?
(in English): Not your business.
- Is that English? - Yes, it's English.
Good.
I say it again.
Not your business.
- Your ankle is better. - (lighter clicks)
I thought you were there to be healed? Hm?
(in Russian): It's his wife? Da?
Pushkin puts up with it because he's too weak to say no.
- Nothing to say. - Why not?
Because nothing to say.
You like living with her? Suits you, does it?
You like it, don't you?
Living with a married couple?
Rudi, I'm going to have to explain to you, we're something called friends.
(speaks Russian) Friends talk about things.
Then I don't want to be friends.
You can lie to her, but you can't lie to me.
You are interested in me because I'm intelligent.
You like that. You've never met an intelligent dancer before.
You like me because I'm German. You can't resist foreigners.
- No? - No.
- Why is that? - Because you dream of a world
that isn't this one.
Why would I dream of another world?
(classical music playing)
♪ Prince Solo from Swan Lake
(music continues)
(chatter)
(music ends)
You see, Vincent's father is well-known as an atheist.
He doesn't believe. But when the moment came...
Yes?
When the moment came, he decided he had to have a Catholic funeral,
and you know what he said?
"I can't throw my sons in the ground like sacks of potatoes."
(in French): The fish for Mademoiselle.
And for Monsieur, the steak.
I hope you like them.
Can you speak to him?
- The waiter? Why? - This is not what I ordered.
(laughs) This is a famous Russian restaurant.
- You speak to him. - No.
I don't want sauce.
How can I help?
Rudi?
W... Uh...
I'm sorry. Just give us a moment.
- What's going on? - I'm not having steak with pepper sauce.
I despise sauce.
- (scoffs) So tell the waiter. - No.
- Why not? - You tell.
You speak to him. Tell him, big mistake.
What is your problem?
Won't speak to waiter.
The waiter is Russian. You tell him what you want, he'll get it.
No.
That's ridiculous.
- I know what he thinks of me. - Who?
That waiter. I know what he thinks.
"Bashkirian peasant. He looks down.
No manners. No education."
And how do you know that? He hasn't said anything.
I know! The way he looks at me!
All right.
I am a peasant from Ufa.
I'm boy born on train.
I play princes in theatre, but I'm not prince.
Fuck him.
Fuck Paris.
Fuck you.
- You should apologise. - Little girl...
if you like apologies, you with wrong man.
(she walks away)
Diagonal, double, arabesque.
Arabesque.
(without music)
Mmm...
Again.
(piano plays)
No, no, not like that. Again.
(whispering)
What did you say?
What?
Are you talking about me?
What's wrong with you?
How dare you?
You're not in this ballet.
You have no right to be here.
Rudi, please.
Why are you here?
Konstantin Mikhailovich is the Senior Ballet Master with the Kirov.
He can attend any rehearsal he chooses.
Maybe.
Rudi...
As it happens I wasn't speaking about you.
But if I want to speak - I will.
The work we're doing is difficult.
- It's far too difficult for you. - Rudi, please.
You are too old.
It's out of your range.
You're not good enough.
You see that door. Close it. And be on the other side when you do.
Konstantin Mikhailovich, I apologise.
- Go! - Take no notice.
I am not continuing until you go.
Rudi...
Go.
(piano playing)
TEJA: Did you say sorry? RUDI: No.
Sergeyev represses me.
- I don't think so. - What?
Sergeyev oppresses you. That's what you mean.
- That's what I said. - No.
"Represses" and "oppresses" are different.
- If you want to learn English... - Ballet is not just about technique,
it's not just rules.
We have to aim higher.
Always higher.
To do that you need to feel people support you, help you.
Rudi, you made it an issue of art. But it's not.
It's an issue of behaviour and...it's driving you crazy.
No. I can handle it. I know what I am doing.
- She's making you crazy. - Who making me crazy?
That's not how you pack a suitcase. Here, let me do it.
I'll pack my own suitcase! You're stifling me!
You're killing me! The two of you!
(suitcase being repositioned)
I was trying to help.
I'm home.
I don't know what's been happening, but there's an atmosphere.
Leave it, sweet-pea. It doesn't matter.
Hm.
You're going to go to Paris, Rudi...
..and then you'll go to London...
..and you're going to be transformed.
You have a special talent
but that's going to isolate you.
So you have to fight that isolation.
There's no such thing as a human being who's not dependent on anyone.
I'm going out.
(man giving address in French)
I am honoured to present the Nijinsky Prize...
to the brilliant young Soviet dancer, Rudolf Nureyev.
(applause)
(camera clicks)
(applause continues)
(chatter)
- Bravo, Rudi. - Bravo, Rudi. Bravo.
Merci.
Congratulations.
Thank you. I saw you in crowd.
Mm.
I decided to forgive you.
Forgive me for what?
Are you saying you don't remember?
I forgive you for being the most selfish man I've ever met.
- I was hoping you'd be here. - Mm.
- Were you? - Yes.
- More fun together. - Then it's lucky I came, isn't it?
♪ Black Swan Coda Medley
(people call out)
(music continues)
MAN: Bravo! - Bravo!
Merci.
(music tempo quickens)
- Hello. - Hey.
Merci beaucoup.
- I'll come back. - Of course. Go.
(music continues)
(chatter and applause)
- Merci. - (music reaches climax and ends)
- Let's go! - No, no, not tonight.
You're not going out. Excusez-moi, mademoiselle.
Why not? I don't understand.
Tonight you stay with the group.
What's going on? This is ridiculous - it's my birthday!
This man is trying to tell us we can't go out!
(protests in French)
- Let them have some fun! - Please!
Now, come on. This isn't funny.
Vitaly Dimitrivich, it's our last night in Paris.
No, you've had your fun.
What are you going to do? Not good publicity, is it?
Come on, be reasonable, it's our last night here.
Please...
(lively chatter in French)
No later than two. And you're in charge of him.
Da. Spasibo.
- We are going out! - (cheering)
- (acoustic guitar plays) - ♪ La Chanson De Prévert
And they complain about me.
(she laughs)
(applause)
Merci.
All right, Rudi, let's go.
We're already late. Time to go.
- The bus doesn't leave till the morning. - I promised to Strizhevsky.
Break your promise.
It's up to you.
- Bonne nuit. - Bonne nuit.
(they speak Russian)
♪ Plaisir D'amour
(air brakes hiss)
(lively chatter)
(announcement in background)
(chatter in French)
- Well, I said I'd give you a surprise. - Come to say goodbye?
Yes, you're right. And...
I wanted to give you a present. It's a...
It's a paper-knife.
RUDI: It's beautiful.
Thank you.
So many people here to see us leave, so many French dancers.
- A quick coffee? - I'd like very much.
OK. Let's go there.
Rudi...
Rudi, before you go, I just need a word.
- What is it? - Come over here, I'll tell you.
We just got a telegram this morning.
Khrushchev wants you to fly back to Moscow for a special gala.
A gala?
Yes, it's a great honour
to perform for the First Secretary.
But I'm going to London.
Later, later.
The new plan is: you'll join the company later in London.
- No. I'm going right now. - No.
You are going to Moscow first.
- I'm not going to Moscow. - Rudi...
Whatever happens, I'm not going to Moscow.
You stay here now. Wait a little with Strizhevsky.
There's a flight to Moscow in two hours.
Are you coming?
No. I'm going to London.
Then who is going with me? Which other dancer?
Who's dancing with me?
You are going to Moscow alone.
No, I'm not going. I'd rather kill myself.
Is there some kind of problem?
Everything is OK. Don't worry. Don't worry.
Stay with me, Pierre. Stay. They're trying to kidnap me!
- Rudi, let's discuss this. - Keep it calm, please.
I'm going to scream - at the top of my voice.
Look, look. If this is a punishment...
- It's not a punishment. - Can I just say...
If this is because Rudi spent time going out with me and my friends,
can I just say, never did Rudi say one word against his country,
against his government or the company. Never.
- Not one single word, ever. - OK, OK.
Just keep it under control, OK?
Konstantin, please - make your way to the gate.
PIERRE: It's OK.
Just let me speak, all right? Rudolf Nureyev hysterical.
Rudi... He has to go to Soviet Union.
And it is not a punishment at all, believe me.
He has to go...
- ..because his mother is ill. - My mother is ill?
- Yes. - His mother is ill?
What is this? You keep changing the story.
First I'm dancing for Khrushchev then my mother is ill?
Just let me explain.
No! No! You played this trick before on other dancers!
Rudi...
They're trying to send me to Moscow, they're trying to send me to prison.
Rudi, are you sure?
- I'm sure. I'm a dead man. - Rudi, believe me,
- it's better to do what they ask. - No!
- You'll be OK, we'll see you in London. - You're never going to see me again!
Rudi, I'm sure it's a misunderstanding. It's a mistake.
It's not a mistake. They won't let me dance!
Come on, go to the gate.
(woman speaks Russian)
Rudi, I promise you, I'll tell everyone so they know what's happening.
It will be all right.
Go to the gate immediately.
Stay at the airport, Pierre. Then they can't take me.
If they take me, they'll inject me. Don't let them inject me.
- (Strizhevsky speaks Russian) - Argh!
Rudi! Rudi, Rudi. Stop that. You stay calm.
Leave me, please. Leave me.
Whatever you do, don't leave me. If you leave me, I am finished.
OK, OK, I stay here, Rudi. OK?
I stay here.
- It's all right. - Yes, it's all right.
- It's all right. PIERRE: I stay here, Rudi.
I stay here.
(in French): I've seen what's happening. Can I help?
Look, I have to stay here - he's safe as long as I'm here.
I'll give you a telephone number...
Be discreet...
Tell her to come here as quickly as possible.
(phone tone pulsing)
I'm sorry, I can't get through.
And now I'm too late - I have to leave.
- You can't go now! - I'm sorry.
- Jean-Pierre. - Oui.
Ring this number, tell her to come at once.
- OK, who is it? - Someone who can help.
- D'accord? - D'accord.
Rudi.
Take a seat. We have some time. Don't worry.
(he hangs up receiver)
(low chatter)
Clara, I can't leave him here.
MAN: Entrez.
Oui?
Has nobody told you? You have a situation down there.
Tell me.
A Russian dancer down there wants to defect.
- Un danseur? - Oui.
Who is he?
Rudolf Nureyev. You've heard of him?
- Rudolf Nureyev? - Oui.
Are you sure he's a dancer?
If he's a scientist, this could get difficult.
- He's not a scientist. - How do you know?
I saw him dancing last night. He didn't dance like a scientist.
- Who are you? - Clara Saint.
I'm a personal friend of André Malraux.
Malraux?
- Yes. - Mm, bon.
So what do I do?
Will you come down?
- Are there any Russian Agents down there? - Yes, he's surrounded.
In that case, he's going to have to surprise them.
In this situation, there are laws. We must obey them. There's a protocol.
We are not allowed to approach him.
He has to approach us.
Excuse me - I'm from Le Figaro. Do you know what is happening?
No. I don't know.
Can I help you?
I came to say goodbye to him, if he's leaving.
STRIZHEVSKY: He is. In an hour. He's going back to Moscow.
And you can't keep away from him, can you?
CLARA: Rudi...
(whispers): You have to say what you want.
(whispers): I want to be free.
Those two men behind you are policemen.
You have to go to them and say the words, "I want political asylum."
I'll miss you.
(silence)
My name is Rudolf Nureyev.
- I want to stay in your country. - No!
I want political asylum. I want political asylum.
(screaming)
(groaning)
- Rudi! - I want to stay.
- I want political asylum. - Hey, hey, Rudi...
- I want to stay in France. - Calm down! Police!
That's enough.
We are in France here.
Venez.
- Hey, hey, hey, hey. Rudi... - (grunting)
Step back!
Venez.
(coins rattling)
Do you realise what you've done?
The Russians will kill him.
One moment.
Is there anything you need?
- Do you have a cognac? - Yes, we do.
(glass clinking)
(lid being unscrewed)
I want to see Monsieur Nureyev.
This is France.
You are on French soil.
And Monsieur Nureyev has placed himself voluntarily under our protection.
I just want to speak to him. I promise.
He's still a Soviet citizen, so I have that right.
(door closes)
Very well. I made a mistake.
I've re-booked you.
You just want to dance, that's what you say.
You're on the next flight to London.
No.
Rudi, you'll join the company in London.
No.
I think I've got to know you in the last few weeks.
I understand you. A little bit.
And I like you.
I know where you've come from - how hard you've struggled.
I know how much you love your mother. Your family.
Can you look your mother in the eyes...
..and tell her...
"I betrayed you,
I betrayed the Soviet Union"?
- Please take this man away. - Wait. Wait.
Wait a moment, please. Wait a moment.
Your family will become pariahs.
You won't just destroy your own life.
I know that.
Leave the Soviet Union now and you will spend your whole life in disgrace.
You'll never get back. Never see your home again.
Understand?
Never.
Never return home.
An hour ago, you made a mistake. In panic.
I'm offering you the chance to put it right.
All right. That's enough. You've said enough. You must leave.
- I don't want to leave. - You have to. Those are the rules.
Now Monsieur Nureyev must decide.
STRIZHEVSKY: All right.
All right. Rudi...
Think about it.
(repeats words)
I have to give you 45 minutes on your own.
That door over there takes you back to France.
This door takes you to the aeroplanes.
You let me know which one you choose.
I can have my friend Clara?
Mm-mn.
If he decides to stay, I'll need you.
There's a lot of press down there - you'll have to deal with them.
- Does he have somewhere to live? - I can find somewhere.
I know people who will take him.
You'll need more than one place - move him every 48 hrs.
(chair squeaking)
Look how dirty you are.
You have to wash your hands.
And paste down your hair.
How you look is very important.
Go and change over there.
Now, please, you have to leave.
He has to do this alone.
(jet engines in distance)
- Uh-uh-oh. - Just mademoiselle, sir.
No, he's a Soviet citizen!
- Calm down. Calm down. - (shouting)
(groaning)
All right. All right, all right.
(door clicks open)
(door closes)
You've lost him.
Mm.
(piano playing)
(piano music continues)
Is this Romeo and Juliet? Is he staying for love?
What? Were you dropped on your head?
- Are you in love with him? - Certainly not.
Where is he now? Is he still in the building?
(lively chatter)
(reporters call out)
He'll be tried for treason in his absence.
I'm very ashamed.
I'm ashamed of Nureyev.
I'm ashamed of myself.
(door opens)
(door closes)
All right?
Da.
His suitcase came back.
I'll get supper.
- (they speak Spanish) - Hello, darling.
You're all over the papers.
You're famous.
Any regrets?
No.
Has he called you?
Is he going to call you?
Eventually.
(in French): He hasn't yet? Why not?
Because that's not who he is.
(brakes squeak)
(lively chatter)
RUDI: Bonjour. ALL: Bonjour.
Monsieur Nureyev, do you think you will one day go back to Russia?
I can live anywhere.
Remember, I was born on a train.
(laughter)
I feel I will never return to my country.
But I may never be happy in yours.
(she speaks Russian)
(she continues in Russian)
(orchestra playing)
subtitles by Deluxe