The Cost of Living (2004 film)

Wikipedia article

Cast

Narrative

Reception

'New York Times'

This is a piece about something, and someone, who is great, about what a profound pleasure it is to encounter greatness, and about what a persistent concern it is that we live in a culture, more specifically a dance culture, that resists such greatness.

Nearly every scene strikes the heart: Eddie's disruption of a brilliantly choreographed six-clown routine; his caustic hostility to gays; Eddie and Dave looking down on a lawn at two women dancers prancing on the green; Dave giving a sexual come-on to an imaginary woman in a pub; Dave verbally harassed by a man with a video camera, followed by a swaying fantasy dance, echoed by the other dancers; Rowan's first encounters with the hula-hooper (Kareena Oates), and their growing romance, all done with silence and hoops; Dave's fluid floor-dance with a woman in a dance studio; and the astonishing final scene, with Eddie and Dave on the beach, speculating about moving to New York and making it on the club circuit.

'The Guardian'

There was an unexpected outbreak of artiness on Channel 4 on Sunday night, when DV8 Physical Theatre were given 45 minutes of post-pub screentime to air a mixed-media piece, The Cost of Living. Despite a few annoying moments involving masks, this was a very beautiful mishmash of dance and dialogue set on the north Norfolk coast, featuring a man with no legs who danced on his hands, an aggressive Scottish man who danced like an elegant Bez, and a really awesome routine to Cher's Believe. The piece came to Channel 4 laden with awards, and it's not hard to see why - it was beautiful, provocative, political and erotic. It was probably watched by two people and a dog, but it almost made me want to forgive Channel 4 for Big Brother.

'Now Magazine'

This entertaining look at what happens after a group of street performers give up their clown work in a British seaside town makes it clear that live or on celluloid, DV8 are one of the sharpest dance troupes around.

The movement arises out of character and situation, whether its a guy in a nightclub whose nervous tics take over his body, or a woman fighting off a group of boys with a hoola hoop.

Its an ensemble piece, but the films most memorable moments involve David Toole , a legless dancer who seduces us in a bar, fights off a bigot, gets to dance with a ballerina and shares the films extraordinary final image.

Awards