Paramount Home Video
Paramount Home Video

Impossible Figure Skating Moves from the Movies

Paramount Home Video
Paramount Home Video

Figure skating is always one of the most anticipated events during the Winter Olympics. But in Hollywood, filmmakers have taken a few liberties on the ice, namely when it comes to some of the technical elements. And the judges are not impressed. Here are a couple of skating moves that could never have been completed without a bit of movie magic.

THE CUTTING EDGE

It's a climactic moment near the end of the 1992 movie, The Cutting Edge, when figure skater Kate Moseley (played by actress Moira Kelly) turns to her pairs partner Doug Dorsey (D.B. Sweeney) just before they are to take the ice at the Olympics and excitedly declares, “We're doing the Pamchenko!”

Frantic, Doug tries to talk her out of it. “Forget it. It's too dangerous,” he yells over the sound of the cheering crowd at the skating arena.

They argue right up to the very moment their music starts on the ice about whether to attempt the controversial “Pamchenko twist,” a highly difficult and dangerous maneuver their coach invented that, if completed during their skate, would mean an instant gold medal. Long story short (spoiler), they execute the move flawlessly and the movie ends with no doubt that they've won Olympic gold.

It's a triumphant ending. But let's just say there's a very good reason the filmmakers used a series of cuts to create the illusion that they actually did the move. The truth is, the Pamchenko twist is impossible.

Earlier in the film, coach Anton Pamchenko (Roy Dotrice) tosses a bunch of weathered looking diagrams onto the ice during a practice that detail a highly dangerous pairs move he has been inventing for the last 20 years.

Intrigued, Doug takes a look. “A bounce spin into a throw twist ... and I catch her?”

The Pamchenko twist does have a basis in reality. It is composed of two parts, as Doug deftly put it. The first part is a “bounce spin,” which is a real move that is actually illegal in competition, per International Skating Union rules. It's often performed in exhibitions and shows because it is quite a death-defying crowd-pleaser—the man grabs the woman by her feet and swings her up and down as he rotates. The woman's head typically comes mere inches from smashing on the ice if it is done correctly. If done incorrectly ... well, just try not to think about that.

The second part is a “throw twist,” more commonly known as a “split twist.” This is a required technical element in high-level pairs competition. To get full credit, a man and woman must start skating backward together. The male partner typically launches the female above his head, where she splits her legs and twists in midair as she pulls them back together. The man catches her as she comes down. Elite-level pairs teams regularly complete triple-twists (the woman does three rotations in the air). Two-time Olympic champions Ekaterina Gordeeva and Sergei Grinkov completed a textbook split triple-twist in their long program in the 1988 Olympics—the first technical element in this video.

Now, put the bounce spin together with the throw twist. The physics just don't compute. The centrifugal force built up during the bounce spin would launch the woman—assuming she is released at the highest point of the bounce spin—on a parabolic trajectory. In theory, she could use the momentum to twist in the air, but it's highly unlikely that she would be thrown high enough to pull it off without getting her head smashed onto the ice during the bounce spin. And even if she did, the horizontal trajectory would launch her so far away from her partner that there's no realistic way he could have enough time to stop his own momentum from the spinning and traverse the distance to catch her.

Pamchenko says in the film that it's all about the timing. But frankly, it's not worth risking the horrifying injuries that would inevitably result to test his theory. There are plenty of other legal and physically possible moves pairs skaters can spend their time and energy perfecting.

BLADES OF GLORY

In Blades of Glory, Will Ferrell and Jon Heder play two champion singles skaters who are banned from men's competition for life after an unseemly incident at a competition. Desperate to get back on the ice, they team up as a pair. In order to stand a chance of beating reigning pairs champions Stronz and Fairchild (Amy Poehler and Will Arnett), they attempt a highly dangerous and difficult maneuver called the Iron Lotus—which has only ever been attempted in North Korea with comically disastrous results.

If the Pamchenko twist is impossible, the Iron Lotus is downright laughable—which is the point, of course. It starts out the same way, with a bounce spin. However, at the height of the bounce, the male skater launches the female into a back flip instead of a twist. While she's flipping, he does an Arabian cartwheel underneath her. Once completed, he catches her by the arm and leg, and the pair gracefully rotate out of it together.

“I swear to God, if you cut my head off,” Chazz Michael Michaels (Ferrell) warns his partner, Jimmy MacElroy (Heder), before they attempt it in the final performance of the film. As they launch into it, their coach (Craig T. Nelson) screams, “No! Don't do it! I was wrong, it's suicide!”

But wordlessly, magically, they nail it. Or rather, computer-animated stunt doubles nail it, because it's physically impossible. It would require the “female” skater to reverse her momentum in mid-air to transition from the bounce spin into the back flip. Maybe it's possible on the moon, where gravity isn't so much of a factor.

So what have we learned from this little figure skating physics lesson? You won't be seeing any Pamchenko twists or Iron Lotuses in Pyeongchang. And don't try any of this at home.

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Karl Walter, Getty Images
When the FBI Investigated the 'Murder' of Nine Inch Nails's Trent Reznor
Karl Walter, Getty Images
Karl Walter, Getty Images

The two people standing over the body, Michigan State Police detective Paul Wood told the Hard Copy cameras, “had a distinctive-type uniform on. As I recall: black pants, some type of leather jacket with a design on it, and one was wearing combat boots. The other was wearing what looked like patent leather shoes. So if it was a homicide, I was thinking it was possibly a gang-type homicide.”

Wood was describing a puzzling case local police, state police, and eventually the FBI had worked hard to solve for over a year. The mystery began in 1989, when farmer Robert Reed spotted a circular group of objects floating over his farm just outside of rural Burr Oak, Michigan; it turned out to be a cluster of weather balloons attached to a Super 8 camera.

When the camera landed on his property, the surprised farmer didn't develop the footage—he turned it over to the police. Some local farmers had recently gotten into trouble for letting wild marijuana grow on the edges of their properties, and Reed thought the balloons and camera were a possible surveillance technique. But no state or local jurisdictions used such rudimentary methods, so the state police in East Lansing decided to develop the film. What they saw shocked them.

A city street at night; a lifeless male body with a mysterious substance strewn across his face; two black-clad men standing over the body as the camera swirled away up into the sky, with a third individual seen at the edge of the frame running away, seemingly as fast as possible. Michigan police immediately began analyzing the footage for clues, and noticed the lights of Chicago’s elevated train system, which was over 100 miles away.

It was the first clue in what would become a year-long investigation into what they believed was either a cult killing or gang murder. When they solved the “crime” of what they believed was a real-life snuff film, they were more shocked than when the investigation began: The footage was from the music video for “Down In It,” the debut single from industrial rock band Nine Inch Nails, and the supposed dead body was the group's very-much-alive lead singer, Trent Reznor.

 
 

In 1989, Nine Inch Nails was about to release their debut album, Pretty Hate Machine, which would go on to be certified triple platinum in the United States. The record would define the emerging industrial rock sound that Reznor and his rotating cast of bandmates would experiment with throughout the 1990s and even today on albums like The Downward Spiral and The Slip.

The band chose the song “Down In It”—a track with piercing vocals, pulsing electronic drums, sampled sound effects, and twisted nursery rhyme-inspired lyrics—as Pretty Hate Machine's first single. They began working with H-Gun, a Chicago-based multimedia team led by filmmakers Eric Zimmerman and Benjamin Stokes (who had created videos for such bands as Ministry and Revolting Cocks), and sketched out a rough idea for the music video.

Filmed on location among warehouses and parking garages in Chicago, the video was supposed to culminate in a shot with a leather-jacketed Reznor running to the top of a building, while two then-members of the band followed him wearing studded jumpsuits; the video would fade out with an epic floating zoom shot to imply that Reznor's cornstarch-for-blood-covered character had fallen off the building and died in the street. Because the cash-strapped upstarts didn’t have enough money for a fancy crane to achieve the shot for their video, they opted to tie weather balloons to the camera and let it float up from Reznor, who was lying in the street surrounded by his bandmates. They eventually hoped to play the footage backward to get the shot in the final video.

Instead, the Windy City lived up to its name and quickly whisked the balloons and camera away. With Reznor playing dead and his bandmates looking down at him, only one of the filmmakers noticed. He tried to chase down the runaway camera—which captured his pursuit—but it was lost, forcing them to finish shooting the rest of the video and release it without the planned shot from the missing footage in September of 1989.

Meanwhile, unbeknownst to the band, a drama involving their lost camera was unfolding in southwest Michigan. Police there eventually involved the Chicago police, whose detectives determined that the footage had been filmed in an alley in the city's Fulton River District. After Chicago authorities found no homicide reports matching the footage for the neighborhood and that particular time frame, they handed the video over to the FBI, whose pathologists reportedly said that, based on the substance on the individual, the body in the video was rotting.

 
 

The "substance" in question was actually the result of the low-quality film and the color of the cornstarch on the singer’s face, which had also been incorporated into the press photos for Pretty Hate Machine. It was a nod to the band's early live shows, in which Reznor would spew cornstarch and chocolate syrup on his band members and the audience. “It looks really great under the lights, grungey, a sort of anti-Bon Jovi and the whole glamour thing,” Reznor said in a 1991 interview.

With no other easy options, and in order to generate any leads that might help them identify the victim seen in the video, the authorities distributed flyers to Chicago schools asking if anyone knew any details behind the strange “killing.”

The tactic worked. A local art student was watching MTV in 1991 and saw the distinctive video for “Down In It,” which reminded him of one of the flyers he had seen at school. He contacted the Chicago police to tip them off to who their supposed "murder victim" really was. Nine Inch Nails’s manager was notified, and he told Reznor and the filmmakers what had really happened to their lost footage.

“It’s interesting that our top federal agency, the Federal Bureau of [Investigation], couldn’t crack the Super 8 code,” co-director Zimmerman said in an interview. As for Wood and any embarrassment law enforcement had after the investigation: “I thought it was our duty, one way or the other, to determine what was on that film,” he said.

“My initial reaction was that it was really funny that something could be that blown out of proportion with this many people worked up about it,” Reznor said, and later told an interviewer, “There was talk that I would have to appear and talk to prove that I was alive.” Even though—in the eyes of state, local, and federal authorities—he was reportedly dead for over a year, Reznor didn’t seem to be bothered by it: “Somebody at the FBI had been watching too much Hitchcock or David Lynch or something,” he reasoned.

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Courtesy of Park Circus and MGM
West Side Story Is Returning to Theaters This Weekend
Courtesy of Park Circus and MGM
Courtesy of Park Circus and MGM

As Chris Pratt and a gang of prehistoric creatures get ready to face off against some animated superheroes for this weekend’s box office dominance, an old rivalry is brewing once again on Manhattan’s Upper West Side. West Side Story—Robert Wise and Jerome Robbins’s classic big-screen rendering of Leonard Bernstein and Stephen Sondheim’s Broadway musical—is returning to cinemas for the first time in nearly 30 years.

As part of TCM’s Big Screen Classics Series, West Side Story will have special screening engagements at more than 600 theaters across the country on Sunday, June 24 at 2 p.m. and 7 p.m. If you can’t make it this weekend, encores will screen at the same time on Wednesday, June 27. The film—which is being re-released courtesy of TCM, Fathom Events, Park Circus, and Metro Goldwyn Mayer—will be presented in its original widescreen format, and include its original mid-film intermission. (Though its 2.5-hour runtime is practically standard nowadays, that wasn’t the case a half-century ago.) The screening will include an introduction and some post-credit commentary by TCM’s Ben Mankiewicz.

West Side Story, which was named Best Picture of 1961, is a musical retelling of Romeo and Juliet that sees star-crossed lovers Maria (Natalie Wood) and Tony (Richard Beymer) navigate the challenges of immigration, racial tension, and inner-city life in mid-century Manhattan—but with lots of singing and dancing. In addition to being named Best Picture, the beloved film took home another nine Oscars, including Best Director, Best Supporting Actor and Actress (for George Chakiris and Rita Moreno, respectively), and Best Music—obviously.

To find out if West Side Story is screening near you, and to purchase tickets, visit Fathom Events’s website.

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