There was much gossip about the precise nature of their relationship but it was disarmed by the illusion she created on stage of a love that was beyond mortal bounds. Unlike world leaders she was not driven by raging ambition or a desire to improve society. Truth, once the first casualty of war, is dying a death by a thousand adaptations. Such presence is rare. The death of Princess Diana is danced as a Danish ballet. In The Little Ballerina , a gooey tale of a little girl wanting to be a star, Fonteyn appeared as herself, speaking in a cut-glass accent and looking so wooden in Les Sylphides she might have strayed off the set of Pinocchio.
Fonteyn bore no grudge and turned out as beaming godmother to Shearer's daughter, Ailsa. The scriptwriter is Ronald Harwood, an accomplished playwright who won an Oscar for The Pianist, which scrupulously followed the memoirs of a Jewish survivor in genocidal Warsaw. These were harmless surrogacies that fooled no-one. So Harwood is toying with digital animation. Innocents emerged from the film intrigued and enlightened. The death of Princess Diana is danced as a Danish ballet. The leaps are lower than one might see from a Darcy Bussell, the technique unexceptional, the personality sallow. Future generations will know Hitler as a Swiss actor with Parkinson's Disease, from the pseudo documentary movie, Downfall. Those who worked with her speak of an aura, an impermeable state of being. Such presence is rare. Visit every week to read Norman Lebrecht's latest column. Seen today on video, these recordings that Harwood wants to use appear almost antedeluvian. They are making a film of the life of Margot Fonteyn, the most celebrated ballerina of her day. Even Nureyev, in so many ways her creation, lacked the quality that made Fonteyn unique and inimitable. Byron had it, reputedly, as did Einstein. Fonteyn made no claims for herself as an athlete. In The Little Ballerina , a gooey tale of a little girl wanting to be a star, Fonteyn appeared as herself, speaking in a cut-glass accent and looking so wooden in Les Sylphides she might have strayed off the set of Pinocchio. Many who knew her well admit they knew nothing of her. The obstacle is not just finding an actress who can simulate classical dance, but one who can suggest the surreal aspect of Fonteyn, an icon who was both intensely physical yet mysteriously immaculate. Or was that, too, an illusion? Seeing Fonteyn dance in her own biopic is no worse, surely, than watching Jamie Foxx mime Unchain My Heart as the liquid voice of Ray Charles flows from his bobbling larynx in the recent movie, Ray. The chances of any actress personifying that enigma are slimmer than Kylie Minogue on crispbread. She was Peggy Hookham by birth, and Peggy Hookham by nature, pleasingly down to earth. Her conversation was mundane and her interests narrow. What Fonteyn possessed, more than the gift for dance, was a presence that transcends charisma or any of the usual qualities of attraction. Truth, once the first casualty of war, is dying a death by a thousand adaptations.
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