moira shearer, robert helpmann, and léonide massine
by
Douglas Messerli
Michael
Powell, Emeric Pressburger, and Keith Winter (screenplay, based on a story by Hans
Christian Andersen), Michael Powell and Emeric Pressburger (directors) The Red Shoes / 1948
When I first conceived of this series of short essays, I determined that, since I was most interested in how dance was used in film, I would not include cinematic representations of ballet. It would be as if I were to explore singing in film, and choose to include the many operas that have been committed to screen. Ballet transcription to film may be an interesting topic, but is not the one at hand.
Moreover, even though the great "Red
Shoes Ballet" is a theatrical work that might just as easily have been
performed on stage, so too is the whole a masterful piece of filmmaking, as
Powell and Pressburger conjure up their highly artificed cinematic style,
filled with lush and vibrant colors that parallel, at times, the works of
Nicolas Ray and Douglas Sirk. Like those later films, The Red Shoes most definitely suggests what one has to admit is an
exaggerated cinematic aesthetic that may or may not be related to ballet. In
any case, The Red Shoes works as a
piece of cinematic art before it serves to represent anything about dance.
At times sentimental, overly melodramatic,
and fraught with a desire to mean more than it does, The Red Shoes is filled with brilliant dancing costumes and sets.
Los Angeles,
September 9, 2011
Reprinted
from My Queer Cinema blog (September 2011).
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