The real reason to watch director Shira Piven‘s “The Performance” is the surprising and strong lead turn from star Jeremy Piven, which is undeniably great — although that’s just about all I have to say that’s positive. The film treads the delicate line between art and melodrama, offering a glimpse into the world of dance while burdened with heavy-handed symbolism and metaphors. The movie is bogged down from the beginning by extremely slow pacing that feels more like a series of moments than a cohesive narrative. Even those who appreciate the artistry of dance are going to have a tough time sitting still for this one.
Based on a story by Arthur Miller that was originally published in The New Yorker, the film is set in 1930s Berlin and follows gifted Jewish tap dancer Harold (J. Piven). When he’s recruited to perform a one-night engagement in a city on the brink of social and political upheaval, he can’t resist the opportunity to share his art with others. Harold begins to have second thoughts when his troupe is tasked with giving their best performance under intense pressure and the threat of their lives hanging in the balance.
While the story is interesting, it feels stretched thin here, almost as if the narrative is trying to do far too much with way too little. The stakes are outrageously high, yet they never fully materialize into a tangible sense of urgency. The performances are what carry the heavy weight here, but the cast can only do so much when the director is intent on rambling on and on.
Piven, known more for his roles in comedy and television, delivers an outstanding performance as the tortured dancer. His portrayal of a man caught between his passion for dance and the looming threat of danger is nuanced and compelling, a testament to his range as an actor that admittedly, I never knew he was capable of. Piven’s commitment to the role brings depth to what could have been a rather one-dimensional character, making him a standout in a cast that otherwise struggles to break free from the film’s self-imposed constraints. He’s really, really good here.
What a pity it is that the film seems to relish in its over-reliance on symbolism and metaphor, both of which often feel forced and detract from the emotional impact of the story. The attempts to link the art of dance with the larger themes of survival and resistance are apparent but ultimately come across as heavy-handed to the point it becomes obnoxious. Instead of allowing the story to breathe and develop naturally, thematic ideas are forced onto the audience, resulting in a viewing experience that feels more like an intellectual exercise in stamina than a heartfelt drama.
That said, if you are a lover of dance, the film does offer moments of genuine beauty. The choreography may be overshadowed at times by the film’s attempts at deeper meaning, yet the talent and technique of the performers still manages to shine. The physicality of the dance sequences is one of the film’s best features, offering glimpses of the artistry that makes the story compelling even when the plot stumbles.
Much of “The Performance” feels strained, and the leisurely execution is frustrating. While Piven is terrific and adds a layer of emotional complexity to the film, this ambitious project doesn’t quite find its balance between art and historical storytelling. I’m giving this a mild recommendation based solely on the lead performance.
By: Louisa Moore
Screen Zealots 