Os Sapatinhos Vermelhos

A great film speaks to each of us in a different way. To me this more than a colourful piece of escapist entertainment, this was a glimpse into a world of magnificent color, sumptious settings, French Haute Couture, the theatre, music, luxury hotels, elegant opera houses, chaffeured Rolls Royce cars, travel to the South of France - in short, everything that a child in the near bankrupt England in 1948 had never seen and could barely imagine.

I was fascinated not only by the glimpse of an elitist life, but of the time capsule which the film presented of a time and place that no longer exists as it was at that time. The views of London in 1948, are similar to watching "World War II in Color" on the history channel. When the ballet company travelled, they took the train. Rationing may still have existed back then, and travellers could not take money out of the country, except for a ridiculously inadequate amount; therefore, if you went abroad you had to know someone with whom you could stay. I also found myself wondering how they got the money to make a technicolour film in 1947, when they began filming.

Part of the film takes place in Monte Carlo, only 20 years after the heyday of the famous Ballet Russe. In fact the ballet company in the film is quite obviously based on the Diaghilev Company. Former member Leonid Massine has a major part in the film, and Marie Rambert has a cameo role.

This is also a ballet film for those who do not really care for ballet. The plot is simple - rising young ballerina falls in love with rising young composer and must choose between him and a career possessively controlled by the impressario - and acts as a frame for the ballet. The film is as near perfection as it is possible to get, and watching it in 2004, it does not seem to have dated at all. Everyone, especially Anton Walbrook, is perfectly cast. The script is witty and occasionally humorous. The technicolour photography is superb, especially capturing Moira Shearer's flaming red hair.

The audio commentary on the DVD adds immensely to the enjoyment of the film, which is one that can be watched over and over. o understand how great this film really is, try watching Baz Luhrmann's "Moulin Rouge" travesty afterwards.

I first heard of "The Red Shoes" when I read the liner notes to an album by the jazz/fusion group Weather Report, called "Tale Spinnin'". Therein it said that saxophonist Wayne Shorter had seen the film a few dozen times. Intrigued, I watched it when I noticed it in the TV listings. What a discovery!

With its focus on the tangle of lives of a ballerina, a composer, and a dictatorial impresario who uses them both, the story may have elements of a soap opera, but it's a superior soap opera. What appealed to Shorter, I'm sure, is the film's depiction of the artists' creative process. It may have been done better elsewhere, but I haven't seen it. Besides that, it's beautifully directed, beautifully photographed and sumptuous to look at throughout. The surreal title ballet is performed in a segment that is stunning, and I'm not just using that word as a cliche.

Anton Walbrook stands out as Lermontov, leader of the ballet troupe. There are many real-life artists from the ballet world in the film, including Leonide Massine and Robert Helpmann. Massine is particularly effective.

Don't be put off by the notion that this is some effete art film; it's high quality AND accessible. Anyone who enjoys art (especially ballet), romance or just plain good moviemaking owes it to themselves to see it.

The film isn't THAT closely related to Hans Christian Andersen's story; but it would be a good idea to read the story before seeing the film. It's one of Andersen's better stories, anyway.

Another minor note: if no other consideration will sway you, see `The Red Shoes' for a perceptive look the position of the ballet composer relative to that of the dancers. For Powell and Pressburger it's no more than a diverting side issue, but it's one of the things that especially interested me. If you look at advertisements for ballet productions today, you'll notice that the composer's name is NEVER printed - even if the ballet is called `Cinderella' and the public has no way of working out whose score is being used. It puts the composer in his place, no doubt. Yet musicians at the ballet are in the habit of thinking that they're the most important people there.

I'm on their side. I happen to loathe classical ballet as such. `Swan Lake' strikes me as a lovely score disfigured by people who insist on dancing to it. Yet `The Red Shoes' makes me put all of this aside. Indeed, it would be fair to say that I simply CAN'T dislike ballet while watching the film - which is especially odd, considering some of the things it does to people.

So, yes, if `The Red Shoes' can have this effect on ME, of all people, it's surely one of the best films ever made. I can't agree at all with the people who describe the film as `melodrama' or `camp'. (The latter charge I scarcely even understand.) The story is what it is and it's told at the most realistic and sincere level appropriate. The characters who act theatrically (NOT melodramatically) are all creatures of the theatre, and have not spent not just their days but their lives in Lermontov's troupe. If you want a more understated view of things then watch the musicians. To put in a word for one of them, Brian Easdale's source music is superb: GOOD music of a kind that an English composer like Craster might well be expected to write. It's clear that Easdale wrote Craster's compositions first, and then constructed the rest of the score around them, rather than vice versa.

I guess the lesson to be learned is that when one is in the arts and striving to be the best it demands 100% of you. At least that's the lesson I took away from The Red Shoes. The film itself is a reworking of the plot from Maytime with dance instead of singing as the art form.

Moira Shearer plays aspiring ballerina Victoria Page and her talent is immediately recognized by ballet impresario Anton Walbrook. He takes her under his wing, but Walbrook seems to want to control every aspect of her life. Walbrook also gives a break to young composer Marius Goring whom he hires to help orchestrate the music that the dancer's use. Goring is talented but also quite full of himself as well. Soon enough Shearer and Goring fall in love and that does not fit into the long range plans Walbrook has.

The title comes from a story by Hans Christian Andersen about a ballerina who sees a pair of red ballet slippers and puts them on and she can dance better than anyone has before. But The Red Shoes have their own enchantment, you can't stop dancing once they're on. The ballerina arranges for her feet to be cut off to stop dancing.

The ballet is an allegory for the terrible price one of these three has to pay for art's sake. The ballet itself which we see in its entirety is maybe the best ballet sequence ever brought to the big screen. Pieces of other classic ballet numbers are also scattered throughout the film and are woven and completely integrated into the plot.

Though John Barrymore who was the manager and husband of Jeanette Macdonald in Maytime was no longer available, Anton Walbrook got his career role out of playing Boris Lermontov who constantly walks back and forth over the line between dedication and obsession. Marius Goring is far from Nelson Eddy in this, he's ambitious and wants it all wife and career. To the extent that Shearer is also in the arts, he wants her in no small part to support his ambitions. In fact he becomes as unlikeable as Walbrook. Torn between these two men it is no wonder Shearer meets the fate she does.

Wonderful ballet sequences splendidly photographed by Jack Cardiff and well tuned acting performances by the three leads are the hallmark of The Red Shoes. This one is a timeless classic.

I am biased because I have loved this film ever since I was four years old. Some films, as you grow and age, lose their magic and you forget what made you love it as a child. This film has only strengthened my love and appreciation of it as I have grown older. I am not one to narrate a storyline, as this film is great for more than, and even despite, it's story.

The beautiful colour photography of the locations, including London, Paris and Monte Carlo, will take you back to a fictional glamorous 1940's where everyone wore chic clothes and were perfectly mannered and groomed and make you wish you could visit there sometime.

The music is a highlight for me. Brian Easdale has written such a detailed and nuanced lyrical score that does not overpower any moment in the film. There are moments where the music so perfectly conveys a character's very thought, even though they are not saying a word and their face betrays not a hint of emotion.

The story is a familiar one, particularly today, of ambition and the balance between career and personal life, between a creative passion and a human one. And of course, yes there is the ballet element. I have no interest in ballet and I love the film. It does play up the prima ballerinas and haughty choreographer stereotypes, but as they are played by real ballet dancers, I think it makes it all the funnier. Robert Helpmann and Leonide Massine are particularly hilarious and over the top, so full of pathos and themselves.

Anton Walbrook is the star of this film, playing a Diaghilev type character and absolutely dominates any scene he is in. He is not bombastic in a showy, hammy way. It is a more silent but deadly charismatic performance. It is a pity he did not receive an award for it. He is stern, uncompromising, cold and passionate and absolutely deadly. He is a gentleman tough guy.

Moira Shearer and Marius Goring, unfortunately do not fare so well in comparison, but they are perfectly adequate in their roles and have some touching and funny moments. It is not altogether their fault, the characters are a little bland, especially in comparison to all the other larger than life characters they are paired with. Shearer really comes good as soon as she starts dancing.

Which brings me to the fifteen minute ballet in the middle of the film. It is beautiful (and brief). The dancing is fabulous, it looks beautiful and the music is amazing. No one should fast forward this masterpiece of filmed ballet. It is cinematic, not (as filmed ballet usually is) procenium stage bound. It is a modern ballet, choreographed by Robert Helpmann and Leonide Massine and is a story, perhaps even a mirror, within and of the film.

The Red Shoes combines every one of it's elements into a perfect whole. Some elements are a bit lacking, the story is very simple and given another context a bit soap opera like, but combined with the visuals, the music, the characters and the human comedy-tragedy, it is a beautiful complete film and one that will keep improving with age.

10/10