The Red Shoes
Directed by
Dance she did, and dance she must - between her two loves
In this classic drama, Vicky Page is an aspiring ballerina torn between her dedication to dance and her desire to love. While her imperious instructor, Boris Lermontov, urges to her to forget anything but ballet, Vicky begins to fall for the charming young composer Julian Craster. Eventually Vicky, under great emotional stress, must choose to pursue either her art or her romance, a decision that carries serious consequences.
| Released | 6 Sep 1948 |
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| Genres | Drama, Romance |
| Runtime | 2 hours, 13 minutes |
| Countries | United Kingdom |
Liked by
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I’ve said and written so much about this picture over the years; for me it’s always been one of the very greatest ever made, and every time I go back to look at it—about once a year—it’s new: it reveals another side, another level, and it goes deeper. What is it that’s so special about The Red Shoes? Of course, it’s beautiful, one of the most beautiful Technicolor films ever made; it has such an extraordinary sense of magic—look again at the scene where Moira Shearer is walking up the steps to Anton Walbrook’s villa, especially in the new restoration: it seems like she’s floating on currents of sparkling light and air. And there’s no other picture that dramatizes and visualizes the overwhelming obsession of art, the way it can take over your life. But on a deeper level, in the movement and energy of the filmmaking itself, is a deep and abiding love of art, a belief in art as a genuinely transcendent state.
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I’m always thinking about the Powell and Pressburger films when I’m thinking about color, about creating worlds, and about how to tell a story as exuberantly as possible.
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Freely adapted from a story by Hans Christian Andersen. It’s a must for anyone interested in the art of film. It always seems to me a work of true madness about a descent into madness.
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