A Ballerina's Tale


Action / Documentary

Rotten Tomatoes Critics - Certified Fresh 69%
Rotten Tomatoes Audience - Spilled 38%
IMDb Rating 6.4 10 467


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February 05, 2016 at 02:36 AM



Victoria Rowell as Herself
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611.1 MB
23.976 fps
1hr 25 min
P/S 3 / 7
1.27 GB
23.976 fps
1hr 25 min
P/S 5 / 5

Movie Reviews

Reviewed by Amari-Sali 8 / 10

In this overview of Copeland's career, you learn about her, her profession, and her predecessors.

A Ballerina's Tale focuses on is Misty Copeland, a young woman who began her career at 13, a late start in the art form, and even in the modern age, faced great prejudice. Not in a similar fashion to her predecessors, like the visibly seen Raven Wilkinson, but between being a Black woman, as well as not fitting into George Balanchine's vision of the perfect ballerina, a lot of her professional career was an uphill battle.

Of which, largely remains unseen. Which isn't to say Copeland's struggles aren't documented, but more so title cards provide you details than imagery of the blood, sweat, and tears which come from dance practice or her having what could have been a career-ending surgery. Nonetheless, in this overview of Copeland's career, you learn about her, her profession, and though she is being touted as the first Black women in many areas of ballet, the film makes sure to pay homage, and have predecessors seen, so that anyone watching will see there is a community, and Copeland isn't just an exception.


Though I have gone to ballets before, and likely will again in the future, I am not someone who knows all the technical terms, nor the history. Within A Ballerina's Tale, however, a basic overview, or rather foundation, is given so that you are made aware just enough without being overwhelmed.

I liked that while Misty was given the title "The First Black…" she made it a point to not make it all about her. She has her title, but wants to make sure you know who Raven Wilkinson is, wants you to be familiar with the other people who, even if they don't get the credit, did pave the way so that Misty didn't have the full-on loneliness which comes from being the first non-white person in an industry.

Within the film it features multiple instances of her performances caught on film, which I enjoyed since we see her practice so much, even post-surgery. So to see how much talent, focus, and drive she has really pushed multiple ideas. The main one being: ballet is no joke. For whether you are physically seeing, through an X-ray, the damage it did on Copeland's body, hearing what many would consider horror stories, and Copeland pushing the idea her pain tolerance is almost superhuman, to not leave the film respecting the madness and love these performers have, I think would be impossible.

Lastly, I have to say I loved the film directly addressing race, and showing Black women having comradery. For among the representation Copeland brings to ballet, I also believe that the film brings the idea that just as she shouldn't be alone on stage, no Black person, or person of color in general, should feel they will be alone in the audience. For while, as one of her supporters note, there perhaps aren't a lot of men interested in the art form, that is changing.

Low Points

Being that we are told Copeland is one of 6, I did find it odd that we don't see any member of her family throughout the movie. For while I do feel we get a strong introduction to her professional life, her personal life is almost completely absent. Which I'm sure may be welcomed by those who may care only about her career, but it leaves the film fractured. To put it another way, it has a Beyoncé documentary style. Something in which everything is tightly controlled and manufactured for consumption, to the point nothing seems real or raw. You see what you are meant to see and hear what you are meant to hear, and nothing which doesn't imply perfection, and the most marketable person around will get to you without someone breaking Copeland's trust.

On The Fence

With the large amount of people introduced, I did wish that the name cards would have appeared more than once. For while I latched onto who her manager was, there were other names in there which I thought would have just had one segment and never be seen again, and when they popped up later in the film I struggled to remember who they were.

Overall: Worth Seeing

Let me start off by admitting that this isn't like the majority of the films placed within the "Worth Seeing" label. For one, this isn't something I think is of universal interest, nor is it on the level for a non-ballet fan to suddenly take an interest. For while Copeland is charismatic, and surely this documentary will make for a good foundation in case her life is even dramatized, there remains this feeling that it belongs in a niche. Likely because, between the topic of ballet, as well as Black women in the medium, it seems finely focused. To the point, the film acts as more of a presentation on representation than us truly getting to know Copeland, those who came before her, or even those who supported her. For, as stated, with the absence of her family, and more so people speaking about her than with her throughout the movie, there is a bit of disconnect when it comes to this being about Copeland. Though, I would argue, while this film disappoints in truly getting to know Copeland past her smiling façade, at the very least if you know a young Black child, or a young girl of color, who is interested in the art form, at the very least the film lets her know she isn't alone, and the possibilities are endless.

Reviewed by westsideschl 3 / 10

Could Have Been Better

Not clear whether the mixed race parents she spoke about were her biological parents or her adoption parents. It would have been a more complete and accurate life story to know the relations between those parenting groups. Also missing was the vast turmoil that dominated her early life in regard to who was guiding her, and with the substratum of economic ramifications. Not discussed and certainly an important part of her story.

If it wasn't constantly conveyed that she has some African genetics (i.e. she's black), at first I thought that she was Mediterranean or perhaps near/middle East or even India subcontinent. So the biracial emphasis seemed almost displaced, and also that she was told by her mother to always check the "black" box unless it was for advantages in economic and other affirmative action assistances.

Again, strange that even though she was promoted as a trail blazer for women of color in ballet, it was only towards the end that there was acknowledgment of such women present in that art from half a century and more previously (especially in the more accepting Europe). Most egregious was the lack of mention of Maria Tallchief who went to even greater ballet acclaim world wide despite an even more discriminatory cultural, political and economic milieu for Native peoples than was faced by African-Americans (an easy history check if doubted). Making me question the accuracy of "A Ballerina's Tale" were two comments concerning Balanchine where he was intimated to be a primary source of American ballet's supposed obsession with overly white ballerinas, yet guess who he championed - Maria Tallchief.

Reviewed by David Ferguson ([email protected]) 7 / 10

The Wonder of Misty

Greetings again from the darkness. You may have seen her "60 Minutes" segment earlier this year, or you may have heard the announcement over the summer when she became the first African-American Principal dancer (prima ballerina) at American Ballet Theatre. Or perhaps you recognize her being featured in advertisements for Under Armour or T-Mobile. If none of this sounds familiar, then you may be totally unaware of Misty Copeland, and director Nelson George has just the documentary for you.

One need not be an expert on ballet to recognize the ability, tenacity and stage presence of the lovely and incredibly athletic Misty Copeland. The grainy footage of her dancing at age 15 can't prevent this star from shining. Soon enough she is the only black dancer in the American Ballet Theatre troupe of 80, and from there she just continues to advance.

The film touches on her unusual and challenging childhood, and also provides a brief primer on the history of ballet (15th century Italy, 17th century France), before naming the few names of the African-American ballet dancers over the years. See, skin with color and a muscular body were considered taboo in the lofty world of ballet … and it became even worse during the era of famed choreographer George Balanchine. His vision of the perfect dancer led to a culture of eating disorders, depression and impossible standards for body image. The point is that Misty Copeland not just broke down color barriers, but also body image expectations … even though she went through her own struggles (Krispy Kreme, anyone?).

We are also provided a peek at the physical grind and incredible strain that these dancers go through to appear so graceful and effortless on stage. A stress fracture in her shin threatened Misty's career, and the film follows her recovery and remarkable ability to become an even better dancer after the injury and surgery.

Most interesting is the relationship that Susan Fales-Hill cultivated with Misty. This mentorship helped Misty fight through the personal and social challenges, while also connecting with the movers and shakers throughout the African-American community. The film's best sequence has Misty connecting with Raven Wilkinson, who was a ground-breaking dancer from the 1950's. Watching these two ladies (separated by multiple generations) bond through dancing is heart-warming and extraordinary.

Of course, we also are treated to a few extended dance performances from Misty – both live performances and the under-appreciated practice sessions. This culminates with her being cast as Odette/Odile in "Swan Lake" … yes, a black 'white swan'. Her talent leaves us in awe, and is surely inspiring an entire generation of young dancers. The film certainly would have been better served by allowing us to connect with or understand Misty the person … but we must be satisfied watching Misty the dancer.

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