Bertram Ross

One of the great artistic forces of the 20th century, performer, choreographer, and teacher Martha Graham influenced dance around the world. Criterion presents a showcase of her impressive artistry, all in collaboration with television arts programming pioneer Nathan Kroll.

This first feature by Amy Greenfield brings to the screen the story of the daughter of Oedipus in an emotionally relentless, visually stunning New Music Film Opera which challenges the conventions of narrative cinema to create a genre of its own. The 2500-year-old drama of the woman who defied the state to bury her brother is transformed through stark, ceaseless movement, haunting sounds and music (including themes from Glen Branca, David Van Tieghem, Elliot Sharp and Diamanda Galas) and words of outcry against our own world's injustice.

Released on DVD as part of The Criterion Collection's "Martha Graham: Dance on Film" collection.

Documentarian Richard Morris examines both the onstage and offstage lives of veteran cabaret entertainers John Wallowitch and Bertram Ross. Since 1984, Wallowitch and Ross have been a performing duo, entertaining nightclub audiences with such acid-tongued musical parodies as "If You Don't Love Me, I'll Kill Myself -- Or Maybe I'll Kill You" and "Don't Do To Me What Woody Did To Mia." Wallowitch and Ross have also been lovers for 30 years, who met while while both were active in the New York creative community; Ross spent close to three decades as a dancer with the Martha Graham company and Wallowitch is a Julliard-trained pianist and songwriter with over 1,000 compositions to his credit. Morris exmines Wallowitch and Ross both as artists and members of the gay community without patronizing or exploiting them in the process.

Night Journey, the dance, had its premiere only two and a half years after Appalachian Spring, and it is a close cousin. It too has a stream-of-consciousness narration: Jocasta, as she is about to kill herself, remembering what has happened to her. It too contains soul-delving solos, broken up by ensemble dances. Here, however, the ensemble is a darker element. As the story was taken from Greek tragedy, so the corps is the equivalent of Greek tragedy’s chorus. They tell us how to feel: afraid mostly. In this piece Graham pushed her habitual economy to its limits.

A filmed version of Aaron Copland's most famous ballet, with its original star, who also choreographed.

A glimpse into the world and methodology of dancer Martha Graham.