Circus shows, like cinema, manipulate audience responses. In presenting carefully chosen, immaculately matched and meticulously orchestrated audio and visuals with the intent of eliciting an emotional and visceral reaction, both rely upon the currency of audience engagement, whether enacted under a tent or projected on screen. The exaggerated pageantry and pantomime of the circus may be less apparent in cinema’s more realistic renderings, but the similarity remains. Cirque du Soleil: Worlds Away calls attention to their commonality by transferring the Canadian company’s artistry onto film, assembling performance footage into a whimsical fantasy.
The capricious Mia (Erica Linz) anchors the scant narrative, her journey providing context to the compilation of acts from seven of Cirque du Soleil’s Las Vegas shows. Wandering in a small town, she enters a seemingly average carnival, urged by colourful circus characters to witness the trapeze display. Outside the big top, she locks eyes with star attraction ‘the aerialist’ (Igor Zaripov); inside, she surrenders to her emotions when a badly-timed trick sees him fall to the ground. His descent plunges us into a surreal underworld, with Mia following the aerialist through a series of weird and wonderful scenes.
The acrobatics on display – from trapeze acts, contortionists, fire twirlers, synchronised swimmers, trampolinists and more – are undoubtedly impressive, as anyone who has seen Cirque du Soleil’s many touring programs will know. Surrounded by sumptuous staging that journeys from the depths of the ocean to the heights of the stars, and accompanied by classical and contemporary tunes (including Elvis, Tchaikovsky and several tracks from The Beatles), even when robbed of the immediacy of live performance, the physical artistry shows through.
Alas, the kaleidoscopic movement and twisted manoeuvres lose resonance in the translation from the big top to the big screen, with cinematic manipulation the key problem. While wide shots merely emphasize the film’s status as a recording of stage shows, anything else betrays the content. From the first zoom, close-up and slow-motion sequence, writer/director Andrew Adamson’s (The Chronicles of Narnia: Prince Caspian) interference in the presentation is evident. As he guides the audience’s gaze, amends vantage points, selects specific objects of focus, and controls rhythm and pace, he interrupts and alters the flow of choreography.
Similarly, the 3D technology designed to immerse viewers in the aesthetic extravaganza does the opposite, with the feature proving distancing rather than involving. As tonal shifts fuel the transition from dreamy and serene to energetic and psychedelic, the only reaction is admiration at the feats of Cirque du Soleil’s players, rather than awe at the spectacle. The sole success of Cirque du Soleil: Worlds Away is as an advertisement for the live production. Some things are best seen with the naked eye; circus antics are among them.
Rating: 2 ½ stars out of 5
Cirque du Soleil: Worlds Away
Director: Andrew Adamson
USA, 2012, 91 min
Now showing in cinemas
Distributor: Paramount
Rated G
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