{"id":160032,"date":"2025-01-27T11:00:00","date_gmt":"2025-01-27T11:00:00","guid":{"rendered":"http:\/\/gamefootballmobileanimeiphone.com\/?guid=e7db7fdb07c8f95b2cacb592a5e7ebad"},"modified":"2025-01-27T11:00:00","modified_gmt":"2025-01-27T11:00:00","slug":"revisiting-the-red-shoes","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2025\/01\/27\/revisiting-the-red-shoes\/","title":{"rendered":"Revisiting The Red Shoes"},"content":{"rendered":"

<\/p>\n

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<\/a><\/td>\n<\/tr>\n
Moira Shearer as Vicky Page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

Black Narcissus <\/i>is my favorite Michael Powell-Emeric Pressberger film–and I also think it’s their masterpiece. But most critics and fans confer that “masterpiece” title on the duo’s The Red Shoes<\/i> (1948). I watched it many years ago, but, honestly, it didn’t leave a significant impression. However, after recently viewing Made in England, <\/i>an excellent documentary about Powell and Pressberger–and listening to Martin Scorsese gush about The Red Shoes’<\/i> influence–I decided to give it another try.<\/p>\n

For those who have not seen it, the plot revolves around three characters: ballet company impresario Boris Lermontov (Anton Walbrook), ballerina Vicky Page (Moira Shearer), and composer Julian Craster (Marius Goring). Each is dedicated to the musical arts, but to varying degrees. <\/p>\n<\/p>\n\n\n\n\n
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Anton Walbrook as Lermontov.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Lermontov lives for his ballet company–its employees are his family. When his star ballerina joyously announces her engagement to the company, Lermontov disappears into the wings of the theater. He is already deciding who will replace her. His preference for the ballet company over the people that comprise it earns him disdain at times. One colleague refers to him as a “gifted, cruel monster.”<\/p>\n

Julian is dedicated to his music. He wakes up in the middle of the night thinking about it and rushes to the piano to transcribe it. However, Julian can balance his profession and his personal life, especially after he falls in love with Vicky.<\/p>\n

Vicky is torn between her need<\/i> to dance and her love for Julian. Like Lermontov, she is obsessed with ballet and cannot live without it. Yet, she loves Julian passionately and cannot envision a life without him. When circumstances prevent her from dancing for Lermontov’s company and <\/i>being with Julian, Vicky confronts an existence that’s burning from both ends.<\/p>\n

While the characters portray<\/i> the conflict between art and “real life,” director Michael Powell visualizes it for the audience. The centerpiece of The Red Shoes<\/i> is an audacious original ballet that literally pulls the viewer from the audience into an imaginary world. Powell opens the scene showing the curtains drawing back to reveal a solitary dancer, a shoe cobbler holding red ballet slippers, on the stage. Then, he cuts to a shot of the village that crops out the framing of the stage. The viewer is now on the stage<\/i> with the performers and immersed into their world. <\/p>\n<\/p>\n\n\n\n\n
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Vicky dancing with a newspaper man.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Over the next fifteen minutes, the ballet is presented as an almost surrealistic film, recounting Hans Christian Andersen’s fairy tale of The Red Shoes<\/i>. It’s a colorful, energetic, sometimes visually frightening display of artistry, with Moira Shearer gliding past sheets of gel, floating through the air, and dancing with a man made of newspapers. The ballet ends with the protagonist’s death and the shoe cobbler with the red slippers on the stage alone as the curtains draw to a close.<\/p>\n<\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
The controlling ballet shoes.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Powell and Pressberger merge their “real” and fantasy worlds in the climax to The Red Shoes<\/i>. When Vicky appears to choose her career over love, Julian storms out of her dressing room. As Vicky walks toward the stage, her red ballet shoes seemingly take on a life of their own–forcing her to run out of the theater and toward a moving train. (It’s no surprise that a train features prominently in this sequence, since Powell foreshadows its importance by integrating it into numerous scenes earlier in the film.)<\/p>\n

Anton Walbrook is the standout among the cast. In his third Powell-Pressberger film, Walbrook gets a chance to portray a complex character that straddles the line between supportive and manipulative. Lermontov is an unforgiving taskmaster, but he recognizes artistic brilliance and supports it. When Vicky wants to leave the ballet company to be with Julian, Lermontov releases her from her contract. But when given a chance to see her again, he pressures her to come back into the fold. He wants<\/i> to be gracious, but ultimately he must do what he feels is right for the ballet company.<\/p>\n

Do I now rank The Red Shoes<\/i> over Black Narcissus<\/i>? No, the latter is still my favorite Powell & Pressberger film. But I am glad I watched The Red Shoes<\/i> again. I have grown to admire its dazzling  colorful imagery, Powell’s bold directing, and the film’s exploration of the thin line between real world and the fantasy world created through visual and aural artistry.<\/p>\n\n

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Moira Shearer as Vicky Page.Black Narcissus is my favorite Michael Powell-Emeric Pressberger film–and I also think it’s their masterpiece. But most critics and fans confer that “masterpiece” title on the duo’s The Red Shoes (1948). I watched it 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