25 for 25 – Put on Your Red Shoes and Dance the Blues

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Nowadays, movies are saturated all the way through with stories about struggling artists and that has been so since the nascency of the very artform (the oldest I can think of on the spot is the historical Jazz Singer from 1927, but you can be damn sure that’s a great underestimation on my part) and because every artist takes their art seriously, even if they’re talking about different artforms and mediums, they all essentially have some sort of emotional investment in the struggles of the artist. Life struggles, physical struggles, psychological struggles, financial struggles, it’s oh so very hard to be an artist but worth it because of what you create and how it obviously affects others, these are all the revelations each one of these movies discover over and over and over again.

And so I suppose on the very genesis of it, Michael Powell and Emeric Pressburger aka The Archers (always getting duo credits for director, producer, and writer, but  were not doing anything special when they decided to make a movie about a ballet based on the Hans Christian Anderson fairy tale “The Red Shoes”, but the execution behind it… it leaves most of those other movies in the dust. The Red Shoes seems more intent overall as a movie to utilize as many of the tools of cinema as it can to make the psychological state of its lead dancer Vicky Page (Moira Shearer) into a complete abstraction and succeeds marvelously. Powell and Pressburger are responsible for some of the inarguably most beautiful movies of all time and I sincerely think The Red Shoes‘ design is easily their best. Meaning that I think The Red Shoes is one of the best-looking movies to ever exist, fuck it. And a lot of that praise from revolves around its central scene.

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I’m not sort of guy who subscribes to the idea that only one element being masterful is enough to carry a movie to pantheon-level. I like to think of film as collaborative and needing every element to work perfectly before it can get better. But if I end up talking exclusively about the ballet close to the end of this, I want you to understand: this is a movie shot by Jack Cardiff, the Archers’ regular, and designed by Arthur Lawson and Hein Heckroth and even the mundane one-on-one discussions are set in such aristocratic palatial interiors that it’s all wonderful to look at. But that ballet is why this movie is a masterpiece, just everything else around it is great. But first the context to that scene:

In the development of that very ballet adaptation of the Anderson story, the impresario of one of the most acclaimed ballet companies in the world Boris Lermontov (Anton Walbrook based essentially on Sergei Diaghilev, director of the Ballet Russes) has employed the dancer Vicky whom he finds an arresting amount of potential in and the young conservatory student Julian Craster (Marius Goring) whom he hires after discovering that one of the company’s composers has in fact been a professor of Craster’s and plagiarizing his work. There’s hardly much more beyond backstage drama going on within the film leading up to the ballet, but one of those very threads of backstage drama wraps itself around Vicky’s ankle and tries to tear her apart. And that thread is the romance that blossoms between her and Craster in their preparations and artistic arguments for the upcoming show that begins to disturb Lermontov. Not of a romantic jealousy, though. Lermontov is of the strict opinion that there is no room for domesticity in the hunt for artistic greatness and we earlier see him dismiss his prima ballerina Irina (Ludmilla Tcherina) for her imminent marriage. The gendered factor aside, it’s very clear that Vicky wants to be able to live her life in love with Craster AND wants to reach her full potential as an dancer under Lermontov’s guidance, but Lermontov absolutely will not allow her to have both and it leads to a domestic clash of attitudes between Craster’s young anger and Lermontov’s stubborn classicalism with the helpless Vicky in between unable to use her autonomy to truly pick one or the other and all three of the leads are superb on this front.

But Shearer gets the best most showy role and she gets to do it in the middle of one of the all-time greatest dancepieces ever put to film, particularly because it is the sort of dancepiece that could only be set to film. Scored by the Brian Easdale’s composition conducted by Sir Thomas Beecham with the Royal Philharmonic, the scope of Lawson and Heckroth’s sets and backgrounds to the play do not fit into any reasonable proscenium scale, there is no way this production can work within a stage, but because The Red Shoes is a movie and not a stage production, it gets to cheat at it and have all these angular, surrounding expressionist village sets full of depth despite their artificiality and the superimposed easy on the eyes skies of red and blue to begin heightening our emotional reactions to these colors and at the center Shearer and Leonide Massine (playing the Shoemaker within the play) pantomime essentially the relationship between Vicky and Lermontov, the Red Shoes being the most obvious metaphor for Vicky’s desire to dance and once they’re on her shoes in a magical movie trick of stop motion, she dances oh so elegantly and wonderfully and then precariously and then interminably and it turns from blissful to frightening just from the curtness of Vicky’s movements and the stamina Shearer must have and then the world keeps spinning around her and we witness that with her sways and the backgrounds now becoming easy light colors that would be so comfortable if it wasn’t obvious how much it pains the girl in the red shoes until the ballet itself climaxes in a manner that foresees the tragedy of the drama behind the production itself.

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The bad news is that it tells the story of the movie already in the most overt manner and once The Red Shoes reaches those heights, it never ever returns to them. Everything after seems mundane in its aftermath despite being made two of the least mundane filmmakers in all of 1940s British filmmaking. And it almost ends up being a waiting game for the rest of the movie to get to the ending you already know it’s heading towards, but maybe that’s just if you’re me and prefer your storytelling by such overt visual abstractions rather than by narrative drama. Because by god, do Shearer and Walbrook and Goring still do their best in their performances to match up in the Archers’ scripted melodrama what that ballet was able to do in craft and I personally find it worthy of a cool down. The Red Shoes feels like a complete challenge to Musical Cinema beyond, the 1950s being plumfull of centerpiece dance numbers like An American in ParisSingin’ in the Rain, and The Band Wagon trying to match up to Powell and Pressburger’s daring marriage of film and dance and music and stage to become the ultimate artform, but there can only be one pair of Red Shoes and it looks like Powell and Pressburger are wearing them. I guess they can split it.

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