review by Jonathan Hutchings Pro
The Red Shoes 1948
Reviewed Mar 22, 2012
Jonathan Hutchings’s review:
An absolute awe-inspiring triumph. The Red Shoes is one of few films that genuinely obsesses over art as vocation, art as religion, and art as the purpose of life. It's a feast for the senses (the gorgeous cinematography, shot in technicolor by Jack Cardiff, the tremendous performances, punctuated by Anton Walbrook's Boris Lermontov, the outstanding dance choreography, and the exquisite, sweeping score by Brian Easdale). It's a film that's sprawling without feeling bloated, and majestic without losing its focus. Emeric Pressburger's story appears simple at first glance, but slowly unravels as a challenging study of the value and purpose of art, and of aestheticism as a creed. I've always respected the art of ballet, but never really took much of an interest in it. It's quite astonishing, then, that I was completely engrossed by the film's 15 minute performance of "The Red Shoes." The artistry of the dancing, the brisk pace, the intense storytelling, the enrapturing backdrops (however superimposed they may have been), were all absolutely riveting.
Clearly The Red Shoes inspired Black Swan. I contend that the latter not only owes a debt to the former, Swan owes it's entire existence to this Archers masterpiece. Not only did Aronofsky lift many of his sequences and storyboards from this film, the thematic concerns, the Bergman-esque exploration of the meaning of art, is virtually identical.
Throughout the years, the term "melodrama" has taken on a negative connotation (thanks Douglas Sirk), but The Red Shoes implores one to recognize that melodrama is extremely powerful if handled correctly. No wonder this film is held in such high esteem, not only as a British nature treasure, but as a classic of film itself. It's one of those rare gems that reminds you of why you love the cinema.
Watching this one and Black Swan back to back, as I just did today, shows how much they have in common visually (and storywise).
One of the things that grabbed me was how much Natalie's Swan has the same grotesque makeup as some of Shearer's characters in her film-- esp the Red Shoes dance itself. I don't know if that's typical of Ballet or if DA borrowed the look as an homage.
Absolutely. I saw a live Aronofsky interview and he said that The Red Shoes was an instrumental inspiration for Black Swan. I don't know much about ballet, but both films depicted the craft with such elegance and drama, I was in awe -- especially the "Red Shoes" performance. Just masterful filmmaking.
Which of the two films do you prefer?
Natalie's performance is better than anything in The Red Shoes -- Anton Walbrook comes close, I should think.
But as a whole film, I rate The Red Shoes above it. The dancing is better -- Moira Shearer was a real dancer -- and it has more variety than just Swan Lake. The colors and sets are an absolute feast for the eyes. I feel that DA was aiming for a claustrophobic and naturalist look, which works perfectly for the picture. But it just ain't as purty as The Red Shoes.
Great review, I can't wait to watch them both again. I think the Red Shoes is a masterpiece; while I'm not sure I'd say the same about Black Swan, I still think it is very excellent. And I think it brings enough new to the table that it is important in its own right.
@Noetic as someone who has danced for a ballet company, mho - makeup does get exaggerated for the stage - more so than for a regular theatre performance. Your features have to stand out under stage lighting, while you're moving, from far away. Moira Shearer's makeup is what I would consider more traditional makeup for ballet on stage - the eyeliner enlarges her eyes, and the extra length at the side and at the brows elongates her eyes when she is not facing forward. Plus the fake lashes. Usually a even a little more contouring for the cheekbones.
Natalie's makeup, as the black swan, is very effective in the film, but it is less "traditional" (at least in my experience). That black and white shading looks awesome in the film, but probably wouldn't have the same effect from the top of the balcony.
And I agree. Moira was a dancer - the technique has changed so much, but she still had that extra something. Natalie trained in ballet, but it wasn't the same. And I spent the whole movie wanting to smack her stupid wrists like my ballet master would!
@Julie - thanks for the insights! It helps to understand that sort of thing. The Black Swan DVD I had didn't have a commentary -- maybe you need a special edition for that. I suspect it would have addressed some of those costume and makeup issues.
Why her wrists? Did she let them fall limp or something? My untrained eye did not notice.
Moira Shearer had a lot more curves than you see in elite dancers these days. . .
hm, hard to explain - this behind the scenes pic probably bothers me the most, but this scene really bothered me too. You can also see it really well in the scene in which the older woman demonstrates that part, where her arms go up and down quickly (like she's flapping her wings). That contrast. The energy in your arms needs to continue throughout your arms all the way to the fingertips, and she loses that - tends to hyperextend.
I think I grasp just what you mean.