The first time I heard this movie - is when read Martin Scorsese's favorite movie list in film magazine. I was curious about this movie. THE RED SHOES is exciting, beautifully shot, and it's a terrific drama about tragedy. I loved the way Michael Powell and Emeric Pressburger directed this movie & loved its color selection. My favorite scene is the The Red Shoes dance scene. I felt this movie is a little bit overlong
Stunning. Powell & Pressburger. Jack Cardiff & Technicolor. Somehow JC wasn't nominated for Best Cinematography, the biggest Oscar travesty of them all... and the list is long. I also find it interesting that Moira Shearer didn't even want the role, didn't get along with Powell and thought the Red Shoes story was nonsense. You wouldn't think that judging by her performance - fully committed and a great dancer.
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.
the oh so familiar narrative where a woman must choose between a profession and a marriage, without the possibility of having them both. overall a quite good movie, really enjoyed the blurry lines between the show and the film's reality, clearly an inspiration for aronofsky's black swan, but both stand on their own
Un film britannique envoûtant et superbe, qui risque de rebuter, à tort, les "non-amateurs" de danse classique et de ballets virevoltants, pour un étonnant spectacle animé et coloré, un ensemble efficace et cohérent, magnifié par la patte experte d'un Jack Cardiff à la caméra et une utilisation raffinée du technicolor, ne dédaignant pas flirter avec l'emphase et le mélodrame. www.cinefiches.com
You can only tell this story on film. Any other artistic medium simply wouldn't be able to capture the spirit or the vibrant energy of Powell and Pressburger's film. That twenty minute ballet sequence is one of the best moments in the history of film. This is a gorgeously crafted masterpiece that has only gotten better with age!
One of cinema's great cautionary tales, The Red Shoes is famous for its marvelous production design, beautiful musical composition and elegant choreography, but the drama played off stage is every bit as compelling. Moira Shearer is mesmerising as the conflicted young ballerina and Anton Westbrook's turn as the uncompromising impresario Boris Lermontov dominates till the last heartbreaking frame.
Our passions drive us mad because they infinitely real and finitely experiential. Inspiration can spring from personal ambition, and lustful competition equally. The talent-that-outs forces a choice that cannot be quantified: to live for rare, ephemeral skill or eternal love. Ironically, the skill before and of the camera here may disprove the story's warning: professional success (art) can be its own justification.
" - You cannot have it both ways. The dancer who relies upon the doubtful comforts of human love will never be a great dancer. Never! - That is all very fine, very pure and fine, but you can't alter human nature. - No? I think you can do even better than that. You can ignore it."
Duty and love in bitter conflict, until the price of art overwhelms them both. The film had me applauding during intermission - but there are some bizarre editing choices and, quite frankly, I don't get why she can't dance and be married at the same time. I LOVE having actual artisans acting as opposed to the other way around; the extra effort in these little touches makes the film a rightful but flawed classic.