A glorious Technicolor epic that influenced generations of filmmakers, artists, and aspiring ballerinas, The Red Shoes intricately weaves backstage life with the thrill of performance. A young ballerina (Moira Shearer) is torn between two forces: the composer who loves her (Marius Goring), and the impresario determined to fashion her into a great dancer (Anton Walbrook).—The Criterion Collection
A one time studio gofer, still photographer, and comic actor, Michael Powell became one of the most celebrated and controversial directors ever to come out of England. Born in Canterbury, Powell became enamored of films while still a teenager and, after a start in the mid-’20s and a stint shooting stills and serving as a co-scenarist with Alfred Hitchcock in the early sound era, Powell broke into directing in low-budget British thrillers and comedies. After directing and writing his first notable movie in 1937, The Edge of the World, he moved to London Films where he began working with Emeric Pressburger, a gifted young author and screenwriter. Their two-decade association began shortly after they left London Films (where they collaborated on The Spy in Black and Powell co-directed The Thief of Bagdad). The wartime thrillers Contraband and Forty-Ninth Parallel, the latter attracted much attention (including Oscar nominations for Best Picture and best original story), resulted in the… read more
The screenwriter half of the Powell/Pressburger team in association with Michael Powell, Hungarian-born Emeric Pressburger was a journalist before coming to films as a screenwriter in the late ‘20s. After working at Germany’s UFA studios for several years, he fled after Hitler’s rise to power and eventually came to England, where he joined London Films as a screenwriter and began his association with Michael Powell, a gifted young English filmmaker. The two worked together on The Spy in Black, and after leaving London Films, formed a filmmaking partnership, known corporately as The Archers, in which they shared joint screenwriter-producer-director credit. Their collaborations together included 49th Parallel, One of Our Aircraft Is Missing, The Life and Death of Colonel Blimp, A Canterbury Tale, I Know Where I’m Going, Stairway to Heaven (A Matter of Life and Death), Black Narcissus, The Red Shoes, The Small Back Room, and The Tales of Hoffmann, most of which were extremely successful… read more
¿Quién era Boris? ¿Su juego era el del amante celoso o del productor obstinado? Cualquiera que fuera, ambos lo convertían en un obsesionado por el ballet, esa arte asumida desde su perspectiva de forma idealista, agotadora y sacrificada. Lo cierto es que el sacrificio recae en Julian. Boris es como la zapatillas rojas, color de la fatalidad, pero que tienen ese matiz bellamente estético: es el sacrificio al arte.
CC#44: A symphony - the soprano of Shearer’s ballerina, the alto of Goring’s composer, both anchored by Walbrook’s ruthless tenor bass, amidst a backdrop of their converging, fateful ambitions, and of music and movement, life and art working towards a grand performance. Of all the Archers’ heightened expressions of cinema and melodrama, their Red Shoes may just be their most poised, let alone exquisite - now marvellously restored (nor would the cut-throat pursuit behind the performance be as dynamically re-enacted until Showgirls).
A Japanese La jetée and more posters from our sidebar Tumblr, Movie Poster of the Day.
Digital projection is replacing 35mm film as the industry standard, and revival houses and museums may soon follow suit. Why should we care?
For 351 days of the year the average age of Karlovy Vary’s tourists could be conservatively estimated at 60. The tiny resort town (a two hour
Dave Kehr in the New York Times on the fifth volume of Warner's Film Noir Classic Collection and the second volume of Sony's Columbia
Sheila Johnston at the Arts Desk: "The last time Jack Cardiff went to Cannes, nobody recognised him; wearing his trademark
Once again, by necessity, a roundup of events in New York. "By pure serendipity, two magnificent movies about ballet - one fiction, one
So. Where were we? Right, I was saying that I'd "been dreaming up a new format and, if all goes according to plan, it'll be rolling out slowly
THE SPY WITH MY FACE "He had the good fortune to be a bad author with an imagination reveling in gross sensation and sex - a natural ally
Directed by Alfred Hitchcock; photographed by Jack Cardiff. Jack Cardiff photographs one of the greatest single takes in cinema, from
A beautifully filmed mild drama. The dance sequences are exquisite. The music grand. However … the “tragic ending” only comes about because the three main characters behave with the maturity and perspective… read review
Enitnedo perfectamente el afan mesianico de Scorsese por rescatar esta obra maestra. Al igual que sus mejores trabajos, es una pelicula
tremendamente cuidada pero con un destello de anarquía, es… read review