Lola Montes

Based on the novel by Cecil Saint-Laurent, Lola Montes is the story of the life of the Irish dancer/courtesan who would embark on scandalous affairs with many men as she would later work for a circus where its ringmaster would tell her life story. Directed by Max Ophuls and screenplay by Ophuls and Annette Wademant with dialogue by Jeff Natanson, the film is the look of a woman’s journey as she tries to find herself in a decadent world as the titular character is played by Martine Carol. Also starring Peter Ustinov, Anton Walbrook, Will Quadflieg, Oskar Werner, Ivan Desny, and Henry Guisol. Lola Montes is a ravishing and elegant film from Max Ophuls.

Set during a circus performance in the mid-19th Century, the film is about the life of a courtesan who has become a circus performer that has her telling her many exploits with different men where she was once revered for her dancing and role in high society and then fall from grace due to scandal. The film is told in a reflective back-and-forth narrative where the main body of the story is set at a circus with the titular character thinking about her past exploits that added to not just her legend but also notoriety. The film’s screenplay by Max Ophuls and Annette Wademant takes this back-and-forth narrative that has Montes not just thinking about moments in her life but also having to display them in some kind of performance for the circus with the ringmaster (Peter Ustinov) is being a narrator of sorts for these exploits. Notably as it would involve the composer Franz Liszt (Will Quadflieg), her mother’s boyfriend in Lt. Thomas James (Ivan Desny), the famed conductor Claudio Pirotto (Claude Pinoteau), and King Ludwig I (Anton Walbrook).

Ophuls’ direction is definitely lavish and stylized in the way he presents the story of this woman’s exploits. Shot on various locations in Paris, Nice, and Munich with several scenes shot on studio soundstages, the film definitely play into this world of fantasy that is presented in the circus scenes that is mixed in with this reality that is full of elegance but also decadence. Ophuls’ precise usage of compositions whether it’s in the wide shots, medium shots, and close-ups help play into the attention of detail over not just the set pieces of the circus and what goes on behind the scenes. It’s also in the world that Montes had lived in where much of her journey has her riding in this spacious carriage with a couple of longtime servants as each journey and lover would represent a chapter in her life.

Ophuls’ direction also has him playing with aspect ratios throughout the course of the film though much of it is shot on a Cinemascope aspect ratio to get much attention to detail on the locations and much of the setting that Montes would be in. Particularly as the settings would play into not just Montes’ development as a person but also the realization that her presence would often cause a lot of problems. Particularly in the final story that involves King Ludwig I as it would cause scandal as well as a revolt where Ophuls would put some historical context into the story as Montes being a reason for the March Revolution of 1848. The direction also have Ophuls mirror the scenes of what Montes has experienced in terms of what she is about to perform though it does play into not just her decline in stature but also emotional as she becomes trapped into what she has become in the end. Overall, Ophuls creates a majestic and riveting film about the wild life of a courtesan in the mid-19th Century.

Cinematographer Christian Matras does incredible work with the film’s cinematography with its gorgeous usage of colors to help set the mood for a scene as well as the lighting in some of the film’s circus scenes including a few moments backstage. Editor Madeleine Gug does excellent work with the editing as it is largely straightforward with a few rhythmic cuts to play into the drama. Production designer Jean d’Eaubonne and set decorator Robert Christides do amazing work with the set design from the look of the state sets at the circus to the places that Montes goes to including the palace of King Ludwig I and the interior of her carriage.

Costume designer Georges Annenkov does brilliant work with the costumes from the look of the clothes that the men wore as well as the stylish and lavish dresses that Montes wore throughout the course of the film. The sound work of Hans Endrulat, Jean Neny, and Antoine Petitjean do fantastic work with the sound as it play into the atmosphere of the circus as well as some of the tense sound of rioting during the film’s third act when rioters throw rocks at the palace. The film’s music by Georges Auric is superb for its rich and soaring orchestral score that ranges from being playful in some parts including scenes at the circus to some somber moments as it relates to the drama.

The film’s wonderful cast feature some notable small roles and appearances from Claude Pinoteau as the famed conductor Claudio Pirotto, Paulette Dubost as Montes’ maid Josephine, Henri Guisol as the carriage driver Maurice, Lise Delamare as Montes’ mother Mrs. Craigie, and Oskar Werner in a terrific small role as a young German soldier that Montes would meet on her way to Munich as he would later help her flee the city in the third act. Will Quadfieg is superb as the famed composer Franz Liszt who would be inspired by his affair with Montes to create music that would make him famous. Anton Walbrook is fantastic as King Ludwig I of Bavaria as the Bavarian king who is smitten by Montes in her beauty and work as a dancer unaware of what he’s doing to his own people.

Ivan Desney is brilliant as Lt. Thomas James as the lover of Montes’ mother who becomes concerned for Montes’ well-being only to marry her where it eventually becomes toxic. Peter Ustinov is excellent as the ringmaster who is the film’s narrator of sorts during the circus scenes as he tells Montes’ story while would also meet her in making an offer to join his circus. Finally, there’s Martine Carol in a radiant performance as the titular character where Carol brings this elegance and melancholia to the role as a woman who had been through so much adventure and was full of life during her time as she is a shell of her former self. It’s a performance that has Carol display charm and liveliness whenever she’s happy while being restrained in her sadness that includes that eerie moment in the film’s ending as it is an incredible performance from Carol.

Lola Montes is a phenomenal film from Max Ophuls that features a sensational performance from Martine Carol in the titular role. Along with its ensemble cast, gorgeous visuals, sprawling set design, complex storylines, and a luscious music score. It’s a film that is rich in its look but also this evocative story of a woman’s life that is full of wonder and sorrow as it’s told in style. In the end, Lola Montes is a spectacular film from Max Ophuls.

Max Ophuls Films: (The Bartered Bride) - (The Merry Heirs) - (Liebelei) - (A Love Story (1933 film)) - (Everybody’s Woman) - (The Tender Enemy) - (The Trouble with Money) - (Yoshiwara) - (The Novel of Werther) - (Sarajevo (1940 film)) - (The Exile) - (Letter from an Unknown Woman) - (Caught (1949 film)) - (The Reckless Moment) - La Ronde - Le Plaisir - The Earrings of Madame de... - (The Lovers of Montparnasse)

© thevoid99 2018

La Ronde (1950 film)

Based on the play by Arthur Schnitzler, La Ronde is a collection of stories involving infidelity where one person meets this person and that person meets another person. Directed by Max Ophuls and screenplay by Ophuls and Jacques Natanson, the film is an exploration into what makes people fall in love and commit adultery in the most whimsical of ways. Starring Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernand Gravey, Odette Joyeux, Jean-Louis Barrault, Isa Miranda, and Gerard Philipe. La Ronde is a witty and delightful film from Max Ophuls.

Set in 1900 Vienna, the film follows a series of infidelities where a man meets a woman and that woman meets another man who would be with this woman who would be with this man and so on. It’s a film with a simple premise as it’s largely told by a narrator (Anton Walbrook) from the modern world who would tell these stories involving people falling in love. Among them is a soldier who meets a prostitute as he would later fall for this chambermaid who falls for the son of the people she’s working for as he would have an affair with a married woman. That is the narrative in a nutshell as it is largely told by this narrator who would often break down the fourth wall or appear in a story as a supporting character. It’s a very unique approach to the narrative as it covers one affair after the other as the characters that are in this merry-go-round of love affairs prove to be very interesting and why people would fall in love with this person or that person.

Max Ophuls’ direction is definitely intoxicating to watch from the way he recreates 1900 Vienna as well as not be afraid to break the fourth wall. Shot largely in a soundstage as Vienna, Ophuls would use the setting to create some intricate camerawork with the tracking shots and some crane shots where it would often last for minutes rather than shoot something for less than a minute. Ophuls’ usage of close-ups and medium shots would maintain an intimacy for much of the film while he would also use some slanted camera angles for stylish reasons to play into a character that is in a transition from one lover to another. There are some wide shots in the film as it’s more about the romances and relationships while the narrator would often be seen driving a merry-go-round or do something that relates to the story where he would hold a reel of film and cut it out and back to a certain part of the story. Overall, Ophuls creates a whimsical yet splendid about people falling in love with this person and that person.

Cinematographer Christian Matras does brilliant work with the film’s black-and-white photography with its usage of shades and shadows for some of the interiors along with some unique lighting for some of the exterior scenes set at night. Editor Leonide Azar does excellent work by creating some unique cutting styles including a few transitional wipes and some rhythmic cuts to play into some of the comedy and conversations. Production designer Jean d’Eaubonne does fantastic work with the set design from the different homes of some of the characters to the design of the merry-go-round. The costumes of Georges Annenkov are wonderful for its stylish look in the dresses the women wear as well as the suits that the men wear. The sound work of Pierre-Louis Calvet is superb for the natural elements of the sound as it doesn’t try to go for anything artificial. The film’s music by Oscar Strauss is amazing as it is this very lively orchestral score that play into the humor and romance with some songs sung by the narrator.

The film’s incredible ensemble cast feature performance that are just fun to watch starting with Anton Walbrook as the film’s narrator/game master who leads the audience to the story and break the fourth wall at times while taking on small supporting roles as an outsider as he’s a joy to watch. From the side of the men, we have Gerard Philipe in a superb performance as a young count who is in love with the actress while he would lament over his own love affairs. Jean-Louis Barrault is terrific as a poet who is in love with a young grisette named Anna as well as the actress while Daniel Gelin is excellent as a young man who would have an affair with a maid and a married woman. In the role of the young soldier, Serge Reggiani is fantastic as the soldier who would start things off in his tryst with a prostitute and later the maid. Fernand Gravey is excellent as the husband of the cheating wife who is having a relationship with a young grisette as he laments over his marriage.

From the women, we have Isa Miranda in a wonderful performance as a stage actress who is having an affair with a poet and a young count while Odette Joyeux is brilliant as a young grisette who spends her time with this married man but is in love with this poet. Danielle Darrieux is amazing as this married woman who is in love with this young man that she’s having an affair with yet still has love for her husband despite their passionless marriage. Simone Simon is radiant as a young maid who is dating this young soldier yet manages to fall for this man whose parents she works for while Simone Signoret is great as a prostitute who starts the entire story with her brief liaison with a soldier as she would start a chain of affairs for everyone involved.

La Ronde is a phenomenal film from Max Ophuls. Featuring a great ensemble cast, a witty story about infidelity, and an unconventional approach to its narrative. It’s a film that manages to be something fun as well as provide some unique ideas about infidelity in a humorous way. In the end, La Ronde is a spectacular film from Max Ophuls.

Max Ophuls Films: (The Bartered Bride) - (The Merry Heirs) - (Liebelei) - (A Love Story (1933 film)) - (Everybody’s Woman) - (The Tender Enemy) - (The Trouble with Money) - (Yoshiwara) - (The Novel of Werther) - (Sarajevo (1940 film)) - (The Exile) - (Letter from an Unknown Woman) - (Caught (1949 film)) - (The Reckless Moment) - Le Plaisir - The Earrings of Madame de... - Lola Montes - (The Lovers of Montparnasse)

© thevoid99 2017

The Life and Death of Colonel Blimp

Written, produced, and directed by Michael Powell and Emeric Pressburger, The Life and Death of Colonel Blimp is the story of a man who looks back at his life while dwelling on those he met along the way. The film explores a man’s life through three wars as he fights for honor while finding love and friendship that would shape his outlook on war and service. Starring Roger Livesey, Deborah Kerr, and Anton Walbrook. The Life and Death of Colonel Blimp is an extraordinary film from the team of Powell and Pressburger.

It’s the middle of the second World War as a training exercise as a young lieutenant named Spud Wilson (James McKechnie) goes after a female officer to capture aging general named Clive Wynn-Candy (Roger Livesey). During a scuffle, Clive recalls his days as a soldier back in 1902 where he had fought the Boer War. During a leave to Berlin, he meets a woman named Edith (Deborah Kerr) as he takes her to a popular café. At the café, Clive deals with a man named Kaunitz (David Ward) who had been spreading anti-British propaganda leading to a scuffle between the two over Edith. The incident reaches authorities as they decide to settle a matter by having Clive engage into a duel with a German officer named Theodor Kretschmar-Schuldorff (Anton Walbrook).

While the duel left Clive and Theodor with minor wounds, the two become friends as Theodor falls for Edith. With Clive returning to England, he goes into a hunting expedition before joining first World War where he’s a general leading troops to war. With a corporal named Murdoch (John Laurie) as his assistant, Clive learns that the war is over as he believes that the right team won as they defeated the Germans without using unsportsmanlike methods to fight. During a stop at convent, Clive sees a young woman named Barbara (Deborah Kerr) whom he falls for and later marries. After the war, Clive tries to re-establish contact with Theodor although Theodor snubs him at a POW camp after the Armistice. Theodor accepts Clive’s invitation for dinner in England where Clive and British officers try to make Theodor feel easy about what they will do for Germany.

Years pass where Clive is forced to retire in 1935 while Theodor seeks refuge to England four years later following the start of World War II. Clive helps out Theodor as the two old friends reunite where Clive introduces Theodor to his driver Angela (Deborah Kerr) who bears a resemblance to both Edith and Barbara. While Clive was able to get back to active service, a chance for him to speak about his own methods of war to the BBC was cancelled as he learns that he’s forced to retire again. With the suggestions of Theodor, Murdoch, and Angela, Clive heads the Home Guard department in his hopes to restore honor in the rules of engagement.

The film is a look into a man’s life in service as his ideas about honors of war are tested by three different wars in the span of 40 years. Yet, it’s also a film where the ideas of war change through different times and methods as this one man is being challenged by everything around him. During this long journey, he would meet a German officer whom he would become his friend despite being opposing sides. He would also meet three different women in different times as they each bear similar resemblances to each other. Through these people and wars that he would encounter, he still wants to maintain some honor in the belief that war can be won in gentlemanly ways. Still, he would have to ponder about whether he still matters to the world of military service that he’s been devoted to.

The screenplay by Michael Powell and Emeric Pressburger is a wonderful study of character as well as the fallacy of war from the perspective of officers in opposing side. While both Clive and Theodor each have different ideas of war, both would face some form of disillusionment. The latter of which becomes lost following the arrival of Nazism as he seeks to find refuge in one of the most devastating monologues ever given. While the film is mostly dramatic, there is a lot of humor in the dialogue about military service and social things as the screenplay is truly witty with an air of satire and fantastic dialogue.

The direction of Powell and Pressburger is truly mesmerizing in the way they present the film as more than just a man’s journey through 4 decades and three different wars. Featuring montages told through newspaper articles and the game that Clive Wynn-Candy has killed when he’s not in war. The film doesn’t make itself into something that could’ve been far more sprawling despite its 163-minute running time. Instead, Powell and Pressburger chooses a more intimate approach to the story while opening the film right near the end as it focuses on a training exercise to capture an aging Clive.

In one take where the old Clive is battling a young officer in a pool, the camera moves onto that pool where a young Clive steps out. There’s a truly magical element to what Powell and Pressburger did while they create amazing compositions that are truly hypnotic to look at. Notably the scene where Clive and Theodor first meet at a duel where the camera remains still into the preparation and then cuts into a shot from above as the two men square off for a brief moment. The approach to framing and the way they allow the camera move gives the film a very entrancing tone to it while knowing when to use humor in a light-hearted manner as well as the dramatic moments without being over the top. Overall, the duo of Powell and Pressburger create a truly outstanding film about a man’s life of military service.

The cinematography of Georges Perinal is phenomenal for the Technicolor look of the film from the gorgeous yet lush colors of many of the film‘s interiors and exterior settings. Particularly in some dramatic moments where the colors play up to the emotion of the film as it is truly some amazing work in the Technicolor film stock that was used in the 1940s. Editor John Seabourne Sr. does an excellent job with the editing in giving the film a methodical pace to play up with its humor and drama as well as utilizing fade-outs for its transitions and rhythmic cuts for the montages in the film.

Production designer Alfred Junge does an extraordinary job with the set pieces created from the Berlin café to the posh home of Clive that he lives in the later years of his life which exemplify the different periods in the film. Costume designer Joseph Bato does a superb job with the costumes from the frilly dresses wore in the 1900s to the evolution of the British uniforms which adds to the film‘s Technicolor look. The sound work of C.C. Stevens and Desmond Dew is brilliant for the way it captures the intimacy of the duel scene as well as raucous world of the Berlin café. The music score by Allan Gray is a true delight for its sweeping yet upbeat orchestral pieces along with more somber, swelling arrangements that play up to the drama as well as adaptations of the music of the early 1900s and military music pieces.

The film’s ensemble cast is truly terrific as it features appearances from Roland Culver as Clive’s Boer War superior Colonel Betteridge, David Hutcheson as Clive’s friend Hoppy, David Ward as the British-insulting German Kaunitz, Jane McMillican as Nurse Erna, Muriel Aked as Clive’s aunt Margaret, John Laurie as Clive’s very loyal assistant Murdoch, and James McKechnie as the youthful yet energetic lieutenant Spud Wilson who tries to capture the aging Clive for a training exercise.

Deborah Kerr gives a truly spectacular performance in three different roles of women who would shape the life of Clive Wynn-Candy. For the role of Edith, Kerr sports a very stylized yet prim approach to an English teacher that becomes Clive’s companion only to fall for Theodor. In Barbara, there is a more low-key innocence to the role as she becomes a woman who stands by Clive. In the role of Angela aka Johnny, Kerr brings an enthusiastic energy as a young officer who helps out Clive while being a friend for the aging Theodor as it’s definitely one of Kerr’s great performances.

Anton Walbrook is fantastic as the German officer Theodor Kretschmar-Schuldorff who would become Clive’s best friend despite not seeing him very much. Walbrook brings charm to a man that shares Clive’s feelings about honor in combat only to become more disillusioned in the changing times as Walbrook has this very heartbreaking scene describing loss. Finally, there’s Roger Livesey as Clive Wynn-Candy as Livesey gives a marvelous performance as a man that reflects on the journey of his life. While having to put on all sorts of makeup and such to portray a man in the span of 4 different decades, Livesey lives up to the challenge by showing a man with great enthusiasm only to struggle with his usefulness as it’s definitely Livesey at his best.

The Life and Death of Colonel Blimp is a sensational yet enchanting film from Michael Powell and Emeric Pressburger. Featuring a remarkable cast led by Roger Livesey, Anton Walbrook, and Deborah Kerr plus the dazzling Technicolor cinematography of Georges Perinal. It is definitely one of the best studies of war and service ever told. Notably from the duo of Powell and Pressburger as the film stands as one of their great achievements. In the end, The Life and Death of Colonel Blimp is a captivating yet exotic film from the duo of Michael Powell and Emeric Pressburger.

Powell-Pressburger Films: The Spy in Black - (The Lion Has Wings) - Contraband - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - (The Volunteer) - A Canterbury Tale - I Know Where I’m Going! - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Back Room - (Gone to Earth) - The Tale of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2012

49th Parallel

Directed by Michael Powell and written by Emeric Pressburger, with additional work by Rodney Ackland, 49th Parallel is the story of a World War II U-boat crew who arrive in Canada after their boat has sunk. In order to avoid the Canadian army, the crew make their way to the U.S. to avoid capture. A film made during World War II, the project marks the third official movie by the team of Michael Powell and Emeric Pressburger as they would become of the key forces for British cinema. Starring Leslie Howard, Laurence Olivier, Anton Walbrook, Raymond Massey, and Eric Portman. 49th Parallel is a superb yet suspenseful film from the team of Michael Powell and Emeric Pressburger.

After sinking a boat nearby the Hudson Bay in Canada, a German U-boat commander (Richard George) asks Lieutenant Hirth (Eric Portman) and Lieutenant Kuhnecke (Raymond Lovell) along with four crew members to go to a nearby camp to get food and fuel. During the journey, Hirth, Kuhnecke, and their men see their submarine attacked by the Canadian air force as they realize they have to escape Canada. Arriving into the camp, they take shelter into the home of a French-Canadian hunter (Laurence Olivier) and the camp leader (Finlay Currie) only to take over and deal Eskimo tribes and later steal a plane.

Arriving nearby a Hutterite community close to Winnipeg, the remaining gang led by Hirth seek shelter by the community as its leader Peter (Anton Walbrook) take them in. When one of the U-boat sailors in Vogel (Niall MacGinnis) finds comfort in the community, Hirth believes that the community could be of help when he gives a stirring speech about Nazism. Yet, Peter finds Hirth and his men trouble though he does accept Vogel who explains about his old life prior to Nazism. Hirth and his remaining men leave the camp as they continue to trek into Canada in hopes to reach Vancouver as there’s a bounty on them. During the journey, the men would encounter eccentric figures such as a novelist (Leslie Howard) and a deserting Canadian soldier (Raymond Massey) leaving them to wonder if they would ever escape.

While the film was made during the early years of 1941 as a propaganda piece of sorts for the then-neutral U.S. at the time. It is a film about survival but from the perspective of the Nazis as they trek through Canada in hopes to make it to the U.S. and return safely to Germany. During the journey which starts off with six men in the beginning, the team would eventually become smaller as the journey to the unarmed U.S.-Canada border near Vancouver. Yet, they would encounter places and people during this journey as one of their superiors want them to enjoy the splendor of Nazism in his belief that Germany will win the war. Unfortunately, a Hutterite leader disagrees while one of the sailors in that group regains his love for baking and comforts a young Hutterite girl (Glyins Johns) who lost her family because of the Nazis.

Emeric Pressburger, with help from Rodney Ackland on the scenario, creates a script that allows these men who are supposed to be the villains become more real during the journey. Particularly Vogel and Hirth where they would have some development during their journey while Hirth maintains his belief in the greater good that Adolf Hitler will bring with Nazism. What makes the journey more interesting are the people they meet such as a French-Canadian hunter who has been away from the world for some time along with the Hutterites and various people throughout Canada. In the end, the stakes of being caught or killed by 11 million Canadians is something Hirth and his men can’t endure while they hope to return to Germany as heroes.

Michael Powell’s direction is truly engaging in the way he captures the Canadian landscape as he got the chance to shoot the film on location in Canada. Yet, he also makes the country a character of its own from its gorgeous forest, vast mountains, and large wheat fields. It’s a place that is very different from Germany where Powell keeps the camera in tact of everything that is going on. From some great wide shots to close-ups, Powell makes sure the camera is always making sure something is happening. Yet, he allows characters such as Hirth and Peter to have their moments about the idea of the world as Hirth is the one character struggling to maintain his beliefs. While the film does have a few flaws as a propaganda piece, notably the way the film ends on a humorous note. It is a film that is a great piece of survival largely due to the writing of Emeric Pressburger and Powell’s compelling direction making it one of their finer collaborations.

Cinematographer Freddie Young does excellent work with the film‘s black-and-white photography to bring a wonderful bright yet broad look to the Canadian mountains and forests along with some great nighttime shots for the cities and places the character live in. The editing by future acclaimed filmmaker David Lean is very good for maintaining a leisured pace while keeping the film straightforward with some transitional dissolves and fade-outs to keep the film moving along throughout the film.

Art director David Rawnsley does some nice work with the look of the cabin the Nazis embark on along with the Hutterite homes and teepees they would seek shelter in. Sound supervisor A.W. Watkins does fantastic work with the sound from the way bombs fall to gun shots and the crowd interacting in the cities and town meetings. The film’s music by Ralph Vaughn Williams is superb for its intense yet serene score for many of the film’s tense moments along with some lighthearted pieces for some of the low-key and relaxing moments of the film.

The cast is definitely a highlight in the film as it includes some notable small performances from Ley On as an Eskimo in cabin scenes, Charles Victor and Frederick Piper as a couple of Hutterites, and Theodore Salt as a U.S. Customs officer. In other small roles, there’s some fantastic work from Glynis Johns as Anna, Raymond Massey as an AWOL Canadian soldier, and Finlay Currie as the Eskimo camp leader. For the roles of the Nazi sailors, there’s Basil Appleby, John Chandos, and Peter Moore as the three men who help along with Richard George as the U-boat commander. Raymond Lovell is very good as Lieutenant Kuhnecke, an officer who tries to get everyone to calm down as he tries to save everyone by flying the plane they stole. Niall MacGinnis is excellent as Vogel, a sailor who finds peace at the Hutterite home as he deals with Hirth’s brutal leadership and how much Nazism has changed his life for the worst.

Leslie Howard is superb as Phillip Armstrong Scott, a novelist Hirth and his men meet where Howard brings a great sense of charm to a man that is an outsider only to be aware of who he is facing. Anton Walbrook is phenomenal as Peter, a Hutterite community leader who takes the Nazis in only to be alienated by Hirth’s speech as he counters it with a wonderful monologue about the Hutterite life. Laurence Olivier is great in a very funny role as a French-Canadian hunter who learns about what’s going on in World War II while trying to aggravate the Nazis. Finally, there’s Eric Portman in a brilliant performance as Lieutenant Hirth. Portman’s performance is very captivating as a man trying to maintain his beliefs and instill them in the people he meets.

49th Parallel is a compelling war film from Michael Powell and Emeric Pressburger featuring a superb cast that includes Eric Portman, Leslie Howard, Laurence Olivier, and Anton Walbrook. While it’s a film that might not have the grandeur as later Powell-Pressburger films like The Red Shoes, it is a film that is intriguing for its study of men who are on the other side of war. Particularly as it gives a more dimensional characterization to men who are Nazis during the early stages of World War II. In the end, 49th Parallel is stellar film from the great duo of Michael Powell and Emeric Pressburger.

Powell-Pressburger Films: The Spy in Black - (The Lion Has Wings) - Contraband - (An Airman’s Letter to His Mother) - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I’m Going - A Matter of Life and Death - Black Narcissus - The Red Shoes - The Small Black Room - (Gone to Earth) - The Tales of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2011

The Red Shoes (Expanded Criterion DVD Review)

Originally Written and Posted at Epinions.com on 11/30/08 w/ Additional Edits & New Content.

One of the greatest cinematic teams in the early 1940s through the late 1950s were the British directing team of Michael Powell and Emeric Pressburger. The writing, producing, and directing team created films that were unique in their take on war and themes involving sin had made them one of the greatest filmmaking team in British cinema. After a period of war and post-war collaborations for films like 49th Parallel, The Life & Death of Colonel Blimp, A Canterbury Tale, and 1947's Black Narcissus that was a different film from their war-themed stories. The team of Powell and Pressburger went ahead to make their film that would give them their greatest commercial success to date entitled The Red Shoes.

Based on a fairy tale by Hans Christian Andersen, The Red Shoes tells the story of a young socialite who loves the ballet as she attracts the attention of a strict, controlling ballet director who hopes to make her a superstar. When she starts to fall in love with a rising composer, she becomes conflicted in her love for ballet and the man who would give her a different life as her director tries to take control of her. Written, produced, and directed by Michael Powell and Emeric Pressburger with additional dialogue by Keith Winter. Starring Moira Shearer, Marius Goring, Anton Walbrook, Leonide Massine, Robert Helpmann, Albert Bassermann, Ludmilla Tcherina, and Esmond Knight. The Red Shoes is a dazzling, entrancing masterpiece from Powell and Pressburger.

A young composer named Julian Craster (Marius Goring) is attending a ballet with friends as the play is directed by renowned ballet director Boris Lermontov (Anton Walbrook). Also attending is a young socialite named Victoria "Vicky" Page (Moira Shearer) as they see Lermontov's play that features choreography by Grishna Ljubov (Leonide Massine) and as the prima ballerina, Irina Boronskaja (Ludmilla Tcherina). Craster notices that notes he hears in the orchestration are written by him as he wondered how it got put into the music score. During an after party, Lermontov meets Vicky at a party as he seems uninterested in seeing another ballet upon realizing that Vicky will be dancing. He takes Vicky in to be part of his ballet company where she works under Ljubov's supervision. Around the same time, Craster meets Lermontov at his apartment where Lermontov takes him as a coach for the orchestra.

After seeing Vicky perform The Swan Lake, Lermontov realizes she can be the lead ballerina after learning that Boronskaja has gotten married. With Vicky in and Boronskaja out, Lermontov decides to create an ambitious play based on Han Christian Andersen's fable story called The Red Shoes. Upon their arrival to Monte Carlo, Vicky is given the lead role to play the main character while Craster is given a chance to re-do an entire score since the original composer left it unfinished. With Vicky meeting Craster, the two don't hit it off as they bicker over her dance and his music. Yet, at the night of the premiere of The Red Shoes. The show was a huge success as Lermontov's company becomes successful with a series of ballets while Craster supervises a project that will feature all of the music for an original that Lermontov is creating.

Yet during a birthday party for Grishna, Lermontov learn that Vicky and Craster are having a love affair. In response, he fires Craster as Vicky decides to leave as well. Though Lermontov manages to succeed with Craster and Page's departure by getting Boronskaja back, he becomes jealous of the happiness that Vicky has with Julian. When he learns that Vicky is visiting her aunt in Monte Carlo, Lermontov decides to make a deal with Vicky where she must choose between her love for Julian and dancing.

The story of The Red Shoes is about a shoemaker who creates these magical red shoes where a girl buys them and dances. The problem is that the shoes are cursed in which she cannot stop dancing as she's tired but the shoes aren't as it leads to tragedy. That basic storyline clearly has brought something inspirational to the team of Michael Powell and Emeric Pressburger as they collaborated on this modern re-telling of Hans Christian Andersen's tale. Yet in their re-telling, the shoemaker is an impresario who wants control in hopes of making this young woman the greatest dancer ever. Underneath his charm is a cold man who will stop at nothing to make Victoria Page the greatest dancer in the world. Even if it kills her. When love comes to Victoria in the form of Julian Craster, she doesn't think about dancing for a while until Lermontov mentions her ambitions and she goes into conflict.

The story Pressburger creates that he turned into a script with Powell is truly phenomenal with its dialogue, language, and story set-ups that is true to Andersen fable. Yet, it's the direction of Powell and Pressburger that makes the film even more magical. Most notably the ballet sequence for The Red Shoes that is clearly spellbinding with its dazzling imagery, visual effects, cinematography, editing, and art direction. The way Powell and Pressburger capture the action and movement of the ballet is truly mesmerizing in every frame and shot as it has this great sense of drama. The non-ballet sequences outside its ballet rehearsals reveal some amazing drama that is stylized in its late-1940s acting style is told with such grace and sometimes, tension in heavier scenes. Powell and Pressburger clearly make sure they capture every moment of drama and romance while making something that is magical. The result is clearly a film unlike any other from Michael Powell and Emeric Pressburger.

Cinematographer Jack Cardiff does amazing work with the film's Technicolor film stock of the late 1940s with vibrant colors in the film's famous ballet sequence while the camera captures every action from the ballet dancer's perspective and with sharp movements. The photography in the exterior shots in Monte Carlo and London looks beautiful for its time as is the visual effects photography by George Gunn and E. Hague in the ballet sequence. Editor Reginald Mills does excellent work with the film's editing, notably capturing the energy of the ballet while in the dramatic scenes. He creates a unique rhythm for some of the film's heightened dramatic moments while his transitions are smoothly cut with dissolves and fade-outs that move the film very well without being too slow.

Production/costume designer Hein Heckroth and art director Arthur Lawson do a great job with the look of the stage and set designs for the ballet scenes, most notably The Red Shoes ballet that truly looks look magical. Heckroth's work in the costumes is great with its vibrant colors in the tights for the ballet dancers along with the suits that the men wear. The dresses of Moira Shearer are done by Jacques Fath and Mattli to play well with the 1940s style with great colors and look along with the dresses she wears in the ballet scenes. Sound mixer Charles Poulton and recordist Desmond Dew creates great effects for the film's sound in terms of its location settings as well as a famous dramatic scene involving the anger of Lermontov. The choreography of Robert Helpmann is brilliant for its movement and emotion in the dance as it brings some appreciation for the art of ballet. The music score by Brian Easdale is marvelous in its energy and sweeping arrangements ranging from the dramatic to romantic. With its sense of melody and layering of orchestration, Easdale's music is definitely phenomenal in its sound and emotion in the scenes it brings.

The casting is definitely amazing with small but memorable performances from Irene Browne as Vicky's aunt, Austin Trevor as Julian's professor, and Eric Berry as Lermontov's assistant Dimitri. Ludmilla Tcherina is very good as the prima ballerina Irina Boronskaja while Esmond Knight is excellent as Livy, the music conductor who is amazed at Craster's talents after not appreciating him the first time around. The film's choreographer Robert Helpmann also does work as the lead dancer for The Red Shoes as he provides a great sense of movement and emotion into his dance with Shearer. Albert Bassermann is excellent as Sergei Ratov, the set/costume designer who is one of Lermontov's key men while sympathizing with Julian and Vicky's reasons to leave Lermontov. Leonide Massine is brilliant as Grishna Ljubov, the company's choreographer with a huge personality as he stands out in his acting as well as his dancing as the shoemaker in The Red Shoes performance as Massine really creates a memorable performance.

Marius Goring is great as Julian Craster, the young composer who falls for Vicky as he finds a muse in his musical writing only to contend with Lermontov for her soul and well-being as Goring's performance is wonderful to watch. Anton Walbrook is phenomenal as Lermontov, the man who holds the power to make anyone great. When he feels that people are loyal to them, he treats the wonderfully and with charm but when he's defied, he's very cold and brutal. Walbrook's performance is really amazing to watch in all of his emotional mood swings and presence as it's definitely a performance people often overlook. Finally, there's Moira Shearer in an amazing performance as Victoria Page. Shearer's beauty and dancing talents are dazzling as her performance in the ballet is definitely one-of-a-kind while her dramatic work equally matches in her emotions as she's faced with conflict and despair about her role. Shearer truly does amazing work as it's definitely her most defining role despite a small filmography.

***Additional DVD Contents Written on 12/8/10-12/10/10***

When The Red Shoes was released through various forms of home video including a DVD release in 1999 by the Criterion Collection.  It was one of the most sought-out releases though the print of the film wasn’t in great condition.  The 2010 Criterion Special Edition 2-disc Region 1 DVD however, improves everything that other DVD releases weren’t able to do.  Retaining some of the original Criterion DVD special features while adding new ones.  The DVD is presented in both regular high-definition DVD and Blu-Ray in its original 1:33:1 full-screen aspect ratio and remastered sound all based on the 2009 restoration presented by Martin Scorsese.

The first disc includes the film in its restored edition as the look of the film is truly stunning.  The colors look sharper and richer in its images.  The sound is much broader.  It’s where the film is given new life and becomes timeless in its look and sound.  Even in the famed dance sequence for The Red Shoes ballet is where the visual effects looks more dazzling and abstract to convey the dream-like tone of the film.  It’s truly restoration at its finest.

The first disc special features include a four-minute restoration demonstration segment hosted by Martin Scorsese.  Because the film was shot with three negative film stocks for Technicolor at the time it was made, the restoration of the film meant that it would have to take 3 times the work restore all of those images.  Among the problems with the restoration were mold damage and the texture of colors.  Thanks to digital technology, they were able to rid of mold and other things that would’ve prevented the chance to restore the film.  Scorsese also revealed scenes of how they’ve looked before the restoration and after the restoration.  It’s a wonderful segment that goes into detail of how the film looked before and after its restoration process.  Another special feature is the film’s theatrical trailer that boasts the film and its Technicolor look.

The DVD also includes two audio features that were recorded for the film’s 1994 Laserdisc release from the Criterion Collection.  The first is a commentary track  from film historian Ian Christie plus audio interview excerpts from actors Marius Goring and Moira Shearer, cinematographer Jack Cardiff, music composer Brian Easdale, and Martin Scorsese.  Ian Christie leads the commentary as he talks about the film’s history dating back to the late 1930s and how it changed when it finally came into production in 1947.  Christie also goes into detail about the formation of the Archers production and its team that consisted of Michael Powell, Emeric Pressburger, cinematographer Jack Cardiff, and music composer Brian Easdale.

Christie even allows the other commentators to make their own comments where Cardiff and Easdale go into detail about their own experience with the film as well as some of the technical things.  Cardiff also reveals about his own first experiences working with the Technicolor film print when it first came to Britain when he was just a camera operator.  Marius Goring and Moira Shearer discuss their own experiences with the film as Goring had to dye his hair blonde because his original red hair would clash with Shearer’s.  Shearer talks about a lot of the ballet in the film as well as her own views of the film while admitting that some of the things in the ballet and backstage aren’t realistic.  Martin Scorsese reveals how much the film has influenced him and other directors.  Scorsese said that when making Raging Bull, The Red Shoes helped him choreograph how he wanted the fights to be stylish and engaging.  While he admits that there’s a few flaws with the ballet sequence, he still loves the film dearly.

Christie also talks about Powell’s directing and the tension he had with Moira Shearer despite their mutual respect towards one another.  It was more to due with Shearer’s feelings about cinema at the time since she was new to the medium.  Goring also talks about how difficult Powell was at times though it was with good reasons.  Scorsese adds more commentary towards the look of the film, even in the third act when Lermontov is all alone in his hotel.  It’s a splendid commentary track that revels in the majestic world that is The Red Shoes.

The second commentary track in the first disc is from actor Jeremy Irons reading excerpts of the 1978 novelization of The Red Shoes while the film is being played.  Irons’ reading of The Red Shoes is definitely one of the DVD’s grand highlights.  His voice is pitch-perfect for the narration while creating all sorts of emotions for the characters he voices throughout the book with the film playing.  He displays a much deeper voice when playing Lermontov and a more sensitive voice with other characters.  He even gets dramatic for the role of Grischa.  It’s a great commentary track of sorts with Irons’ voice hitting the right notes for the film as if a book is being told.

The second disc of the DVD features many supplement material relating to the film’s release.  Among them is a 25-minute documentary called A Profile of The Red Shoes.  Featuring interviews with historian Ian Christie, filmmaker Kevin McDonald (who is also Emeric Pressburger‘s grandson), cinematographer Jack Cardiff, and camera operator Chris Challis.  The documentary explores the history of the Archers team as well as the films they did before The Red Shoes that helped their reputation with the British film industry.  When creating The Red Shoes, they needed some of the best people in ballet which was easy but finding the leading lady was hard to find.

Enter Moira Shearer, who was already an accomplished ballerina with the British world of ballet.  Though Shearer was hesitant to do the film because she feared it would end her ballet career, she ended up doing the project.  For Lermontov, Powell and Pressburger chose Anton Walbrook, a regular of the Archers team.  They wanted someone who could play a brutish, controlling man some said was based on Sergei Diaghilev and a bit of Alexander Korda. The crew revealed that the clash of the two worlds of ballet and cinema wasn’t an easy blend.  Even as the ballet dancers had egos towards each other.  Particularly Leonide Messine, who was in his early 50s at the time, and Robert Helpmann.

For the famed ballet scene, it was the talents of cinematographer Jack Cardiff, the ballet dancers, and art director Hein Heckroth.  It was Heckroth’s production design that really gave Powell and Pressburger that the scene can be done.  Even as it blended all styles of cinema to create what many says is one of the greatest sequences on film.  When the film was released, the film received mixed reviews in the U.K.  Some of the criticism over its melodrama and elements of the ending.  The film wasn’t a big hit when it came out but its reputation grew over the years.  Even among film buffs that included Martin Scorsese.  While it would win two Oscars for Brian Easdale’s score and Hein Heckroth’s art direction.  It would take years for the film to finally bring some prestige in the U.K.

The second big special feature is 14-minute video interview with Michael Powell’s widow and famed film editor Thelma Schoonmaker at the 2009 Cannes Film Festival.  Schoonmaker talks about Michael Powell, The Red Shoes, and the restoration of that film along with some of the other Powell-Pressburger films.  Schoonmaker goes into detail about the damage of the films due to mold and scratches as The Red Shoes was the film that really needed to be restored.  With the help of the UCLA Film and Television Archive, it was finally given the great restoration it needed.  Even as it was funded and spearheaded by her and Martin Scorsese.

Schoonmaker also reveals about Powell’s obsession with trying to make great art while making similarities to Scorsese’s own obsession towards making great art.  Even as she and Scorsese often watch Turner Classic Movies revealing Scorsese’s passion for film restoration.  Even with The Red Shoes where he and Schoonmaker worked as consultants for the restoration.  The interviewer asked why Schoonmaker never directed a film as she replied she is fine with her job as an editor.  Even though whatever films she does with Scorsese is always different no matter how close they are as longtime friends.

“The Red Shoes” Sketches is an animated featurette featuring Hein Heckroth’s painted storyboards for the film’s famed ballet sequence.  The featurette also features a comparison of the sketches with the actual ballet from the film.  The look of Heckroth’s sketches are superb as it would match with what Powell and Pressburger would want for the final version of the film (that is also played by itself as an alternate angle in its restored print.  The featurette also includes an audio track of actor Jeremy Irons reading the original Hans Christian Andersen fairy tale of the same name.  Irons’ reading adds more nuance and prestige to the sketches displayed on the featurette.

Two galleries appear in the DVD.  The first of which are rare publicity stills, deleted scenes, and behind-the-scenes photos for the film.  Many of the photos are in black and white while the deleted scenes feature pictures of Page preparing an audition and a picture of Lermontov and his team giving ideas for The Red Shoes ballet.  The only pictures in color are the set design and costume sketches for the film.  The second stills gallery is a collection of memorabilia for the film collected by Martin Scorsese.  Among them are the red shoes and a copy of the script signed by Powell and Pressburger to Scorsese, a sketchbook of storyboards that was previously owned by Rolling Stones drummer Charlie Watts, scarves, wallpaper, posters from various countries including Italy, Mexico, Belgium, and France.

The DVD also includes a booklet featuring an essay by film critic David Ehrenstein and a description of the film’s restoration by UCLA film archivist Robert Gitt.  Ehrenstein’s essay about The Red Shoes is entitled Dancing For Your Life where Ehrenstein discusses the themes of the film along with its idea for artistic dedication at is most powerful.  Even as the essay goes into the history of formation of the Archers production team that is led by Powell and Pressburger.  Ehrenstein also goes into depth with the actors, notably Anton Walbrook and Moira Shearer.  Ehrenstein also goes into the film’s plot and how it would lead to its tragic ending as it’s a wonderful essay.

The second text in the booklet is Robert Gitt’s two-page description about the restoration.  Starting from the fall of 2006 and to the spring of 2009 before its unveiling at the 2009 Cannes Film Festival.  The restoration of The Red Shoes was a hard one due to many things affecting the negatives including molds, chemical staining, and scratches.  All of it had to be done digitally as Gitt hoped that the film is seen the way it was shown back in 1948 with the help of modern technology.

The Criterion DVD for The Red Shoes is truly a must-have for any film collector as it’s finally given the proper restoration it needed.  Audiences who loved this film then should have it whether on DVD or Blu-Ray.  Those new to the films of Powell-Pressburger should get a chance to see the restored version of The Red Shoes as it is a film that looks truly timeless.  If there’s a great DVD to get for anyone, it’s the new Criterion DVD for The Red Shoes.

***End of DVD Tidbits***

Released in September of 1948 in Britain, the film wasn't a big hit at first in Britain while having a limited run in the U.S. the next month. Yet, word-of-mouth helped the film gain ground while it received better acclaim from the ballet community as it eventually became Powell and Pressburger's most successful film in their entire career. Winning an Oscar for Brian Easdale's score, it received four other Oscar nominations including Best Picture. The film also proved to be influential as noted film buff and famed director Martin Scorsese cited the film as a big influence on him while his editor Thelma Schoonmaker married Michael Powell in the early 80s until his death in 1990.

The Red Shoes is a truly magical and dazzling masterpiece from the team of Michael Powell and Emeric Pressburger. Featuring a superb cast led by Moira Shearer, Anton Walbrook, and Marius Goring along with Jack Cardiff's cinematography, Robert Helpmann's choreography, and Brian Easdale's score. This is a film, sixty-years since its release, still has the power to dazzle in its imagery, effects, and its marvelous ballet sequence that will reveal the fine art of ballet. While young audiences might not be amazed by the special effects of the film or its stylistic directing of that time, it's a film that revealed the magic of filmmaking for that time and how it amazes audiences. Even today as film buffs consider it one of the best films ever made. For anyone that wants to see a film with spectacular visual effects, lovely ballet sequences, and vibrant colors. The Red Shoes is the film to go see from the great team of Michael Powell and Emeric Pressburger.

Powell-Pressburger Films: The Spy in Black - (The Lion Has Wings) - Contraband - (An Airman’s Letter to His Mother) - 49th Parallel - One of Our Aircraft is Missing - The Life and Death of Colonel Blimp - (The Volunteer) - A Canterbury Tale - I Know Where I’m Going - A Matter of Life and Death - Black Narcissus - The Small Black Room - (Gone to Earth) - The Tales of Hoffmann - (Oh… Rosalinda!!!) - (The Battle of the River Plate) - Ill Met by Moonlight - Peeping Tom - (They’re a Weird Mob) - (Age of Consent) - (The Boy Who Turned Yellow)

© thevoid99 2010