Il y a des moments cinématographiques qui semblent touchés par la grâce dans les Chaussons Rouges. Le plus fabuleux de tous c'est le moment du ballet,15 minutes de génie qui ont influençé loin devant l'art du spectacle.La m.e.s est magnifique de rigueur, les décors et les costumes à tomber par terre.Les couleurs vibrent dans le Technicolor d'un livre d'image qui raconte des histoires à relire cent fois.
The infamous ballet scene is perhaps the greatest piece of storytelling ever put on screen. It takes music, editing, and ballet, uses them in conjunction, and produces something much larger than any of them could accomplish individually. The only reason I don't include this among my all time favorites is due to the adequate, but not stellar, romance which holds the whole story just shy of cinematic transcendence.
One of the rare films that deal with ballet and the process behind creation of art, The Red Shoes is triumph of sight and sound, with fantastic performances across the board, the best of which comes from leading lady Moira Shearer.
A quite stunning and rare bird, that triumphs on all levels: thematic and technical. The central cliche of the plucky ingenue is here transformed into a beautiful tradegy coloured and textured with the most wonderful and eccentric hues around notions of obsession, devotion and artistry. The Ballet of The Red Shoes alone is a masterpiece of expressionistic art if one recklessly ignored the superb structural story.
Nearly incomparable in terms of its aesthetic vision, particularly the astounding choreography. I so desperately wanted to be in that diegetic theatre for the first performance of The Red Shoes. If you can see this Technicolor marvel in 35mm, you're in for a treat.
67 years and not a wrinkle, everything is modern and dazzling. From the camera work by Jack CARDIFF (The Girl with the Motorcycle), to the music score by Brian Easdale (Golden Globe) & the interpretation by Moira Shearer (& Ludmilla TCHERINA). ===== 67 ans et pas une ride, tout y est moderne et éblouissant. Moira SHAERER sous la caméra de Jack CARDIFF (La fille à la moto) & la musique de Brian Easdale (Golden Globe).
The staging of the ballet sequence in the middle is simply marvelous with all its colors, lights, shadows and dreamlike moments: a triumph of cinematic fantasy over the somewhat simplistic melodramatic narration. And Léonide Massine's dancing the role of the shoemaker is also unforgettable.