Sam Riley Trades Joy Division for Ballet in ‘John Cranko’ Biopic

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As I delve deeper into the captivating world of cinema, each role presents its own unique challenges and rewards. Portraying the complex character of John Cranko was no exception – it was a rich tapestry of emotions that any actor yearns to explore. The man was a paradox, brimming with courage yet possessing a delicate sensibility. There was an ocean of turmoil within him, a sea of beauty, a river of sadness, and an endless reservoir of love. It was a role that demanded everything from me, and I wouldn’t have it any other way.

Initially, Sam Riley was thrilled when he received the script for “John Cranko,” believing it to be an action movie that would showcase his action abilities. However, upon further investigation, he discovered that John Cranko wasn’t the action-packed hero he had envisioned; instead, he found out that John Cranko was a chain-smoking gay choreographer who revolutionized the world of ballet.

As a movie enthusiast who’s admired Riley for his outstanding performances, particularly as Ian Curtis in Anton Corbijn’s Control (2007), and more recently alongside Helen Mirren, Andrea Riseborough, and Lily James in various films, I was intrigued to learn that he had never attended a ballet before. However, when my wife, the talented Alexandra Maria Lara known for her roles in Downfall and Rush, suggested reading the script, she confidently asserted, “this is a role you’re going to take on.” Reflecting on my career, I realized that such compelling characters don’t come along often, maybe every 15 years or so, like when I portrayed Ian Curtis. This new character was someone with numerous emotional facets, yet intensified – overly self-assured but deeply vulnerable.

Under the direction of Joachim Lang (notably known for ‘Goebbels and the Führer’ and ‘Mack the Knife – Brecht’s Threepenny Film’), a German-language biopic narrates the swift and spectacular rise to acclaim of South African choreographer John Cranko. After being convicted in London for persistent solicitation, he found asylum and international success with the Stuttgart Ballet in Germany. He breathed new life into a group of underappreciated dancers by introducing a unique dance style that integrated natural motions, genuine emotional expression, and a generous dose of humor, which was quite unconventional for the conservative ballet scene. Time Magazine dubbed him as “ballet’s greatest storyteller.” His interpretations of ‘Romeo and Juliet’, ‘Onegin’, and ‘Taming of the Shrew’ continue to be staged worldwide. Tragically, Cranko passed away prematurely at the pinnacle of his career, aged 45.

Globally distributed by Beta Cinema, the film “John Cranko” was created by Zeitsprung Pictures and launched in Germany by Port au Prince Pictures. This film’s debut at the American Film Market (AFM) will take place on Wednesday, November 11, at Brenden Theatres.

Riley opened up to “The Hollywood Reporter” regarding portraying a renowned art figure, working with actual Stuttgart dancers on stage, and finding a passion for ballet during the process.

Were you a ballet fan before, did you know John Cranko?

Initially, let me clarify something: I had never attended a ballet performance before, that being the case in Stuttgart just prior to the events unfolding. It wasn’t part of my upbringing; instead, I was immersed in cinema and music. I confess that I harbored certain biases against ballet, biases shared by many people without much justification. To my surprise, I didn’t recognize the name John Cranko, and I had hoped it would be associated with an action movie given its intriguing sound. However, upon learning he was a chain-smoking gay choreographer, I felt a bit disappointed. The sheer volume of the script made me apprehensive, so I asked my wife, Alexandra Maria Lara, to read it for me. Her response was encouraging: “This is a role you should take on; this is definitely an opportunity for you.

The most daunting thing was all the German dialog. I speak German passably enough but I think I talk more in this movie than I’ve talked in any other movie. I did this schnitzel Western [2014’s The Dark Valley] where I was in almost every scene, but I barely spoke a word. And I’ve done a couple of children’s German comedies playing the clumsy Englishman. It’s funny that the Germans, a nation not famous for their sense of humor, are the only ones who have put me in anything humorous.

How did you prepare to play Cranko?

A representative from the Stuttgart Ballet provided me with a collection of historical materials about the choreography by John that was originally performed by the founding dancers. This package included live performance footage, newsreels showing him at work, and personal insights into his behavior and body language. Subsequently, I visited Stuttgart multiple times to collaborate with Reid Anderson, a dancer under Cranko’s direction. During rehearsals with Elisa Badenes and Friedemann Vogel – current star dancers in the company featured in our film (Marcia Haydée and Heinz Clauss) – Reid demonstrated how John would have approached these dance sequences. At a certain point, it was my turn to replicate his moves.

But it was a bit intimidating. Because at the Stuttgart Ballet, John is very much alive and well. He’s sort of omnipresent, not only in the enormous photos that they have of him in every room — I was very grateful when they took those down when we started shooting —but his method is still taught there, the dancers grew up with his story. I tried to do what I did when I played Ian Curtis or anyone who really existed, which was to try and open up and channel whatever’s around, the atmosphere of the person. I don’t mean that to sound pretentious. I don’t really know how it works.

To me, your acting in this movie seems incredibly heartfelt and exposed, reminding me of the depth of emotion and vulnerability you displayed when portraying Ian Curtis in Control.

I appreciate your sentiment. You’ve pointed out that roles like this one are not common, reminding me of how I encounter such opportunities only every 15 years or so. This is a role with numerous emotional dimensions, amplified yet delicate, featuring both overconfidence and vulnerability. The character was fearless but also sensitive. There was an abundance of inner turmoil, beauty, sadness, and love within him. It’s the kind of role that any actor would yearn for to express. I find it intriguing that this character has a darker side too, showing cruelty at times. My aim, much like with Ian, was to portray the person, not an icon or legend. People often say you’re playing a cultural figure, but fundamentally, you’re playing a human being.

Making the film, did you discover an inner love of ballet?

As I observed the dancers and their performances, I was deeply touched and didn’t even need tissues for those moments. The art of ballet is truly astonishing, especially considering it has managed to endure. It’s easy to criticize today’s youth as lazy, but these dancers have devoted their entire lives to something extraordinary, a passion that began when they were just children – the pursuit of dance and striving for excellence. I found this dedication and the survival of ballet to be incredibly inspiring.

Was it challenging working with non-actors? Your co-stars are actual ballet dancers.

Many people cautioned director Joachim Lang against casting numerous inexperienced actors for the cinema, but John Cranko’s directing approach emphasized acting and emotion over technique. As a result, these dancers are versatile performers across various fields. I recall those initial days; we were both tense, yet our concerns differed. They feared speaking on camera, while I worried about portraying a choreographer, as I had no prior experience in choreography. In my opinion, making a film about ballet requires real dancers rather than actors playing the roles of dancers.

What was the most challenging aspect of the film for you?

The German language. I’ve very capable in a shop or, making conversation with friends or my neighbors but I’ve never tried to explain Romeo and Juliet to anyone in German. So I spoke with a friend of mine, Bill Nighy, who I worked with some years ago. I rang him and said: ‘I’m afraid of this part.’ And he said: ‘the only cure for fear of work is work’. I knew he was going to say something like that. I learned every scene six weeks before the shoot so I knew I could go in and do the whole thing, like it was a play, and I got my wife and my son to go through my lines and correct me. By the end of it, they knew every line of John Cranko. It’s a strange thing, acting in another language. Because usually when you’re performing, you’re only thinking of making it truthful or believable. You’re not thinking, How the fuck do I say this word?

You had the world premiere at the opera house in Stuttgart. What was that like?

The event was truly remarkable. With a hometown audience filled with regular ballet attendees, season ticket holders, or whatever you may call them, and the original dancers present, it was an evening that will forever be etched in my memory. Sometimes, work offers the unique opportunity to become intertwined in a narrative previously unrelated to oneself. Tonight, I became a part of the Stuttgart story, much like I’m connected to Manchester through Control and Ian Curtis. This is rather amusing considering my roots are in Leeds.

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2024-11-06 17:25