Believe me - When you watch this documentary's footage of ballet dancer, Misty Copeland twirling around like a top on the very tips of her toes - You will be delightfully dazzled and awestruck by this woman's astounding agility, balance, and control.

If you are someone who is interested in the fine art of dance - "A Ballerina's Tale" is definitely the kind of bio-documentary that is guaranteed to hold your rapt attention right to the very end.

In this 84-minute presentation - Misty Copeland confidently tells her story (with a little help from her friends) about her personal triumphs and professional achievements that put her directly into the spotlight of being the very first black dancer (in the American Ballet Theater's 75-year history) to be chosen for major parts in their lavish stage productions.

"A Ballerina's Tale" (2015 release; 85 min.) is a documentary about the life and times of Misty Copeland, an African-American ballet dancer at the American Ballet Theater. As the movie opens, we see Copeland at a young age (13 or 14?) at a ballet practice. We are then informed how few ballet dancers make it into the elite dancing troupes, and of those that make it, how very, very few African-Americans or dancers with a 'muscular' body make it. After that we start following Misty Copeland , as she goes about her day-to-day routine. To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is not an earth-chattering documentary by any means, yet it serves a good purpose, namely to shine the light on the lack of diversity in the ballet world. Or, as one of the 'talking head experts' phrases it in the movie: why does ballet look like the Alabama Country Club in 1952?". Or as the New York Times put it in a major article: "Where Are the Black Swans?". Other topics that this documentary looks at include the issue of injuries, which Copeland also has to deal with, unfortunately for her. Ballet dancing at the elite performance companies such as the ABT has become so much more demanding in recent years (and it always was quite demanding before that too). Then there is the footage of Copeland performing. Even though she didn't start dancing until she was 13, you can tell from the footage of those first years how much talent and grace she had from the get-go. Watching Copeland dancing Sawn Lake is pure delight. Final note: from the end credits, it looks like the movie was funded through Kickstarter (it looks like hundreds and hundreds of people contributed).

"A Ballerina's Tale" opened this weekend at my local art-house theater here in Cincinnati. The Sunday early evening screening where I saw this at was attended okay but not great. Regardless, if you like ballet, or are simply curious to learn more about the amazing Misty Copeland, you cannot go wrong with this movie, and I would readily recommend you check this out, be it in the theater, on VOD or eventually on DVD/Blu-ray.

Ballet was first performed in the Italian Renaissance courts during the 15th century. Sadly, not much about the world of ballet has changed since then. Nelson George's documentary A Ballerina's Tale tells the story of the trailblazing African American ballerina Misty Copeland. During 2015, Copeland became the first African American woman principal dancer in American Ballet Theatre's seventy five years.

Ballet's traditional aesthetics were imagined and defined by George Balanchine, a Russian choreographer often regarded as the father of American ballet. Balanchine idealized the strikingly slender, youthful, and pale ballerina. This precise image, along with ballet's tendency towards assimilation and uniformity of dancers, creates a problem for African American ballet dancers. The film explains that despite being a ballet prodigy, Copeland's dark skin tone, muscular body, and larger chest provided objections and created road bumps in her career.

George fails to provide insight into Copeland's complicated and interesting backstory. Aside from briefly stating that she grew up in a lower income household, George grazes past the details concerning Copeland's abusive childhood. There is no explanation given as to how Copeland worked her way out of a difficult past to become the sensation she is today. Michael Rechtshaffen of The LA Times says, "Copeland's victories are shortchanged by the film's prevailing sense of detachment from its main subject." In my opinion, the audience is left feeling as though the triumphant story of an underdog exists but is inexplicably left untold. Sadly, this is a recurring theme in A Ballerina's Tale.

The film begins just before Copeland receives the lead in Firebird, one of the most iconic and prestigious roles in ballet. This role is typically given to prima ballerinas, and it had certainly never been given to a black ballerina before. In one of the film's most climactic and triumphant bits, prominent and accomplished black women from around the country come to see Copeland perform in this groundbreaking production. However, while the film continues to mention the magnanimity of this event, there are no personal interviews about that night by either Copeland or the women in attendance. The event is narrated over a snippet of Copeland's stunning performance, giving little documentation of the important evening.

The film's conflict occurs when Copeland faces an injury not long after opening Firebird. George chooses to focus largely on Copeland's struggle with her pain and her duty to continue climbing to the top of the ballet world as an African American woman. Many scenes depict Copeland leaping and bounding about the stage accompanied by a narration of her pain. George includes various clips of Copeland's physical therapy in which she is violently bent and cracked. These scenes are gritty and work to illustrate the trauma and pain that Copeland chose to endure in order to continue to pave a path for black ballerinas in the world of professional ballet.

A Ballerina's Tale is largely anticlimactic. After overcoming a fracture that nearly snapped her leg in half, Copeland became the first African American woman to be promoted to principal dancer in American Ballet Theatre's history, However, Brian Seibert of the New York Times comments that even this momentous occasion is announced in sober, anticlimactic text: "Dreams do come true."

George's fault lies in his lack of depth in any one direction. The film neither focuses intently on Copeland's life and story or the topical issue of race in the ballet world. Towards the beginning of the film, various authors and other specialists give commentary on "the color of ballet" and its history. This short segment touches on the belief that ballet is one of the last remaining institutions of white supremacy in the modern world. Ballet is known to be soft and delicate and white. The idea of a black white swan for instance has previously been unimaginable to the ballet world. However, these asides exist only within the first quarter of the film. The film then loses some of its purpose as it fails to fully connect Copeland's journey with the barriers she was forced to breakdown due to racial inequality in her field.

In one exception, an interview with Susan Fales-Hill, an African American author and producer, explains the way in which various trailblazing African American women mentored Copeland. The most poignant scene in the film occurs when Raven Wilkinson, a woman who is known to have been the first African American woman to have danced with a major ballet company, visits Copeland in her home. Copeland describes herself sobbing the first time she saw a video of Wilkinson dancing and explains that she didn't know that professional black ballerinas existed. The moment is sincere yet heavy as the two share a kinship over a fight they continue to fight. The two briefly discuss race and the importance of discussing its issues openly. Even this more intimate scene leave much is left unsaid that could have provided background and intrigue to the audience. There is no mention of Wilkinson being forced to paint her face white for her performances as a young girl, the violence she faced in some southern towns the company performed in, or her eventual leave from the company. Instead, George provides a lengthy scene in which the two women lovingly bond over their shared remembrance of the choreography from Swan Lake. The film is full of documentary self indulgence such as lengthy scenes of Misty walking down the street or getting dressed for her performances. The film's dialogue is sporadic and uncentered, creating little to no story line. With a living legend as a subject, it is curious that George chooses to focus on Copeland's recovery from an injury as the subject for the film. Injuries are obstacles faced by athletes at all levels. Copeland's struggles reach much further, as do her accomplishments. George's film leaves the audience wanting more because they know that so much more exists.