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One of my all time favourite films,
with one of the greatest sequences in film history.
One of the true masterpieces
of classic cinema.
I adore this film. So, expect yet another rambling review for this one. Sorry.
The Red Shoes is perhaps the most beloved work from the legendary duo of Michael Powell and Emeric Pressburger. I became interested in this film after another legendary director, namely Martin Scorsese, named it as one of his all time favourite films. After watching I am inclined to agree.
The most talked about aspect of this film is the cinematography. Powell was famous for his technical pioneering and his startling use of technicolour. The stunning beauty of this cinematography cannot be understated, the film looks phenomenal. The use of colour and production design is shockingly advanced for the 1940's, and the film's aesthetic is at least 15 years ahead of it's time. Even without gushing over the technical aspects of this cinematography, the film looks outstanding and has several eye-popping moments, particularly during one key sequence.
The acting of the film is also phenomenal. Anton Walbrook is outstanding as Boris Lemontrov, emotional and deep, whilst also believable and naturalistic. He is one of many shining gems within the sparkling crown, and the actors deliver some truly fantastic performances. There little I can say other than, watch and enjoy.
There is one key sequence of this film that will never leave me, and that is what I wish to discuss above all in this review. This sequence is the titular performance of The Red Shoes, and it is a hypnotic marvel, a visual masterpiece. The choreography, visual effects, music and - of course - colour used in this scene are all mesmerising, and it is impossible to comprehend how all of these elements were mixed so perfectly. The sequence is given even more power when put into context with the character's dilemmas and development, and is the central point of the entire film. This sequence is, simply masterful and makes the film what it is. The rest of the film is very, very good, however it is this portion of the film which makes it all so poignant. I beg you however, do not watch this scene out of context. Whilst still visually stunning, it would carry none of the pathos and complexity that it would in context.
In conclusion, I again feel that I have failed to encapsulate how wonderful this film is. I beg you all to give it a try, it truly is a masterpiece and a technical masterpiece.
By Jack D. Phillips
A Zoom Film Review
The Red Shoes is perhaps the most beloved work from the legendary duo of Michael Powell and Emeric Pressburger. I became interested in this film after another legendary director, namely Martin Scorsese, named it as one of his all time favourite films. After watching I am inclined to agree.
The most talked about aspect of this film is the cinematography. Powell was famous for his technical pioneering and his startling use of technicolour. The stunning beauty of this cinematography cannot be understated, the film looks phenomenal. The use of colour and production design is shockingly advanced for the 1940's, and the film's aesthetic is at least 15 years ahead of it's time. Even without gushing over the technical aspects of this cinematography, the film looks outstanding and has several eye-popping moments, particularly during one key sequence.
The acting of the film is also phenomenal. Anton Walbrook is outstanding as Boris Lemontrov, emotional and deep, whilst also believable and naturalistic. He is one of many shining gems within the sparkling crown, and the actors deliver some truly fantastic performances. There little I can say other than, watch and enjoy.
There is one key sequence of this film that will never leave me, and that is what I wish to discuss above all in this review. This sequence is the titular performance of The Red Shoes, and it is a hypnotic marvel, a visual masterpiece. The choreography, visual effects, music and - of course - colour used in this scene are all mesmerising, and it is impossible to comprehend how all of these elements were mixed so perfectly. The sequence is given even more power when put into context with the character's dilemmas and development, and is the central point of the entire film. This sequence is, simply masterful and makes the film what it is. The rest of the film is very, very good, however it is this portion of the film which makes it all so poignant. I beg you however, do not watch this scene out of context. Whilst still visually stunning, it would carry none of the pathos and complexity that it would in context.
In conclusion, I again feel that I have failed to encapsulate how wonderful this film is. I beg you all to give it a try, it truly is a masterpiece and a technical masterpiece.
By Jack D. Phillips
A Zoom Film Review
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