Call Me Dancer Review: The documentary hovers over Manish Chauhan’s incredible talent and charm

The makers of call me dancer Go coast to coast to unveil the documentary about the struggle and triumph of the amazing talent Manish Chauhan. The film, directed by Leslie Champaine and Pip Gilmour, had its world premiere at the Santa Barbara International Film Festival on Thursday and opened last night’s Dance on Camera festival at New York’s Lincoln Center.

call me dancer documents a young man who can perform backflips, chicken-ups, the Thomas Flair (a scissor move named after gymnast Kurt Thomas) or any number of incredible feats as if it cost nothing. But his greatest achievement was the rise from humble beginnings in Mumbai, India, to growing fame on the world stage, a journey as difficult and improbable as the completion of his athletic or ballet maneuvers.

“In India, people think that dance has no future,” complains Manish (pronounced Mah-NEESH) at the beginning of the film. The son and grandson of taxi drivers, his pursuit of something beyond such a mundane existence requires an unusual level of stamina and self-confidence. It also requires overcoming the skepticism of his parents, who have made significant sacrifices to send Manish and his sister Madhu to college, hoping they’ll both find steady-paying jobs.

Fortunately, Manish has a few people firmly in his corner: his grandmother, who provides moral support, and ballet master Yehuda Maor, a former Israeli dancer who trains young aspirants at DanceWorx Performing Arts Academy in Mumbai. Entering this school becomes the defining moment in Manish’s life. In the studio, he meets a world of people with skills very different from those he honed on the streets of Mumbai – a classical tradition that requires a very different training and musculature than to pull off what might be called stunts. to feed.

“I don’t want to be an acrobat,” emphasizes Manish. “I want to be a dancer. Call me dancer.”

We were blown away by his enthusiasm to make his dream come true. It’s the classic underdog story: Manish entered the ballet scene very late by the standards of the most hopeful. Is he destined to get a contract with a dance company or go home bitterly disappointed?

At this point in the story another young dancer comes into play – the remarkably gifted Amir, who at 14 is seven years Manish’s junior and seemingly on his way to a career as a solo dancer. The astute Yehuda sees the potential to build a certain rivalry between the dancers who recognize each other’s talent and take them to the highest level. But when Yehuda shows a colleague from the Royal Ballet School in London a video of Amir in the studio, the youngster is immediately offered a place at the school. The filmmakers note that they could not follow Amir’s path further because the school forbade the filming of their would-be prodigy.

Watching Manish and Amir dance side by side in the studio, it’s clear that the boy has an ineffable grace and line that Manish can’t match at such a late stage in his development. He is devastated when Yehuda tells him that he won’t make it in a classical ballet company. “You started too late.”

But Yehuda has the solution: Manish should study contemporary dance, where he can use his varied skills. And he knows exactly where to send him for training: the Kibbutz Contemporary Dance Company in Ga’aton, Israel.

Pressure builds on Manish – his parents urge him to contribute money to support the family and pay for his sister’s wedding. When Manish is offered a role in a fictional film based on the love triangle between himself, Amir and Yehuda, he must choose between the prospect of an income or the disappointment of the kibbutz community, which does not want it.

Manish takes over the role Still ballet (Julian Sands, the actor who recently disappeared while hiking Mount Baldy, California, plays the character after Yehuda). A serious shoulder injury, caused or aggravated by filming, sidelined Manish for a year. Then the Covid pandemic disrupts the dreams and aspirations of performance artists everywhere.

Still, Manish does not give up. “I can’t give up,” he says. “I love to dance and I will continue to dance.”

call me dancer reaches the heart through the archetypal quest of the film hero and the charm of Manish Chauhan. The film experience is enhanced by the endearing relationship between Yehuda and his excellent students. He is portrayed as an intimidating figure who flatters his students and even hits some on the head when displeased. But his selflessness in supporting Manish turns him from a grizzly into a teddy bear. And it’s touching to see his emotion as he admits that his role, like that of a parent, is to prepare Manish and others for success far beyond the walls of Danceworx.

The film’s biggest draw is of course Manish’s dancing, performing feats of incredible strength and agility with the joy of someone born to dance. He is also beautiful, which according to Yehuda is one of his assets. For an important solo performance, Manish chooses from possible outfits to wear on stage; Not surprisingly, a colleague advises him to go shirtless. The traditional purpose of dance, especially in the classical realm, is to celebrate aesthetic beauty, which Manish possesses in many forms.

The film crew includes executive producer Jay Sean, the celebrated British singer-songwriter of Indian descent, as well as EP collaborators John Patrick King, Esther van Messel and Jinit Hingorani. Producers are Priya Ramasubban, Cynthia Kane and Leslie Shampaine. Champaine co-directs with Pip Gilmour.

The dazzling images were created by cinematographers Neil Barrett and Abhijit “Hojo” Datta, who know how to capture dancers and the colorful bustling streets of Mumbai on film. Jennifer Beman White is editor, with Hemal Trivedi serving as consulting editor. Nainita Desai composes the score.