Anthony Lane reviews Pina in the latest issue of the The New Yorker.
The question is, What do you get from “Pina” that you could not get from watching the Tanztheater live? Answer: More than you could possibly believe. This is not just a matter of the al-fresco scenes, or of our proximity to the dancers, near enough to hear them pant. There is also Wenders’s decision to shoot the film in 3-D, and, in so doing, to goad stereoscopic technology into its first leap since “Avatar.” Not before time; 3-D was stalling badly, but now we are back on track, thanks to Scorsese’s “Hugo” and to Wenders, who takes no more than a minute to flourish his credentials.
In the March 8, 2010 issue of the venerable New Yorker magazine, film critic Anthony Lane has a long story on the state of 3D called “Third Way” and subtitled “The history of 3-D from stereoscope to Avatar.”
Published as Avatar was shattering all box office records, the article delves into the the history of 3D as an art form and poses the tantalizing question:
“Faced with the thought of a 3-D “Casablanca,” one is torn between outrage at such blind desecration and a sneaking wish to know—well, what the hell would it look like?”
Excellent reading and a well-sourced background for anyone considering some of the loftier cultural and historic aspects of 3D.
From the New Yorker. Photograph by Miles Aldridge.