The Red Shoes (1948)

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– Why do you want to dance? – Why do you want to live? Vicky Page (Moira Shearer) is a ballerina torn between her dedication to dance and her desire to love. Her autocratic, imperious mentor (and ‘attractive brute’) Boris Lermontov (Anton Walbrook) who has his own ballet company, urges to her to forget anything but ballet. When his star retires he turns to Vicky. Vicky falls for a charming young composer Julian Craster (Marius Goring) who Lermontov has taken under his wing. He creates The Red Shoes ballet for the impresario and Vicky is to dance the lead. Eventually Vicky, under great emotional stress, must choose to pursue either her art or her romance, a decision that carries deadly consequences… The dancer’s film – or the film that makes you want to dance. An extraordinary interpretation of Hans Christian Andersen’s fairy tale, this sadomasochistic tribute to ballet and the nutcases who populate the performing universe at unspeakable cost to themselves and those around them is a classic. A magnificent achievement in British cinema and the coming of age of the Michael Powell-Emeric Pressburger partnership, it is distinguished by its sheerly beautiful Technicolor cinematography by the masterful Jack Cardiff. It also boasts key performances by dancers Robert Helpmann, Ludmila Tcherina and Leonide Massine with a wordless walk-on by Marie Rambert. The delectable pastiche score is by Brian Easdale. Swoony and unforgettable, this is a gloriously nutty film about composers, musicians, performers, dancers and the obsessive creative drive – to death. Said to be inspired by the relationship between Diaghilev and Nijinsky, this was co-written by Powell and Pressburger with additional dialogue by Keith Winter. It was a huge hit despite Rank’s mealy-mouthed ad campaign and in its initial two-year run in the US at just one theatre it made over 2 million dollars.

 

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Happy 80th Birthday Snow White and the Seven Dwarfs (1937)!

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Walt Disney’s extraordinary feature animation debut premiered eighty years ago today. Adapted from the Brothers Grimm fairytale, it is the benchmark for all animated films and remains a firm favourite. One of the most beautiful films ever made, it was my first film at a cinema on one of its many re-releases over the years. What a thrilling introduction to the wonderful world of Disney. Happy Birthday!

Sabrina (1954)

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Aka Sabrina Fair/La vie en rose – Oh Sabrina Sabrina Sabrina where have you been all my life?  – Right over the garage. Chauffeur’s daughter Sabrina Fairchild (Audrey Hepburn) is an ugly duckling who tries to commit suicide in her employer’s limousine because of a bad case of unrequited love for boss’ son playboy David Larrabee (William Holden). He doesn’t even know she’s alive. So when she returns to Long Island from two years at cooking school in Paris a beautiful young woman she immediately catches three-times married David’s attention when he sees her waiting for her proper English father Thomas (John Williams) at the railway station. David woos and wins her but their romance is threatened by David’s serious older brother Linus (Humphrey Bogart), who runs the family business and is relying on David to marry an heiress Elizabeth (Martha Hyer) in order for a crucial corporate merger to take place. So when David’s back is out Linus tries to distract Sabrina and finds himself falling for her himself  but can’t admit it and plans to ship her back to Paris … This cynical romcom is extraordinary for a few things: its star wattage, its creepy Freudian setup (Bogart looks like Hepburn’s grandfather) and amazing dry wit. Samuel Taylor adapted his stageplay Sabrina Fair with contributions from Ernest Lehman and director Billy Wilder, who was making his last film at Paramount. Bogart behaved badly on set, believing he was miscast (Cary Grant was Wilder’s first choice) and wanting his wife Lauren Bacall in Hepburn’s role. He found Hepburn unprofessional because of her problems learning lines but just read some of the ones they delivered: Look at me, Joe College with a touch of arthritis. Or, Paris isn’t for changing planes it’s for changing your outlook. And, There’s a front seat and a back seat and a window in between. And perhaps its mission statement in a film about class and sex and money: Nobody poor was ever called democratic for marrying someone rich. This is a writer’s movie for sure! It’s really a movie about movies and how they pair off young girls with old men (how relevant is that nowadays with everything in the news?!) But it was the scene of a serious set romance for the blond-highlighted Holden and Hepburn and also the introduction of Hubert de Givenchy’s gowns to Hollywood, credited to Edith Head. When Hepburn walked into his Paris salon he thought he was going to meet Katharine Hepburn. It was the beginning of a long and fruitful screen association:  she is the very epitome of elfin beauty in this film, a duckling who grows into an astonishing swan. And she calls her French poodle David! There are some very funny scenes, many taking place in the car and some at the boardroom where Bogart gets to fire guns at new plastic inventions. No wonder he apologised to everyone concerned at the conclusion of production. It gave him a role he hadn’t had before – an uptight stick in the mud who turns into a romantic lead – and at his age! 

Effie Gray (2014)

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He must be mad.  Young virginal Effie (Dakota Fanning) marries art critic John Ruskin (Greg Wise) shortly after her family has endured financial hardship. When she enters his family home she finds that he has an unhealthy relationship with his mother (Julie Walters) and his father (David Suchet) is genially oppressive. On their wedding night her husband looks at her with … distaste. And never touches her. Her mother in law insists on dosing her with some strange herbal concoction that knocks her out. Mingling with the great and the good she finds a sympathetic friend in Lady Eastlake (Emma Thompson) the wife of his patron at the Royal Academy and she suspects all is not right particularly on a visit to their stifling home during a spectacularly awkward dinner.  On a trip to Venice it is assumed that Ruskin is quite mad and Effie is pursued by Raffaele (Riccardo Scarmarcio) who almost rapes her. When Ruskin commissions a portrait of himself from his protege John Everett Millais (Tom Sturridge) the trio decamp to the countryside and an affection grows between the two young people:  it is clear Effie is starved of genuine human warmth. She summons her little sister Sophy (Polly Dartford) to visit her and makes a plan to escape… This project had a very troubled birth following two plagiarism suits against actress and screenwriter Emma Thompson. Notwithstanding the issues that caused the script to be redrafted this doesn’t come to life – something of an irony given that the living Effie was immortalised as the suicided Ophelia by Pre-Raphaelite Millais. Fanning isn’t the most energised or personable of performers at the best of times but she really is given little here and the interrelationships aren’t especially well exposed. Wise has likewise little to do except look pained and self-absorbed:  mission accomplished. It may well be true but it doesn’t mean it works on the screen. For a story with so much scandalous content this is a disappointment on a massive scale. Look at the paintings instead. That’s Tiger Lily Hutchence as the young Effie in the opening scene and how lovely it is to see Claudia Cardinale as the Venetian viscountess. Directed by Richard Laxton with some staggeringly beautiful landscape photography by Andrew Dunn.

Ever After: A Cinderella Story (1998)

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The post-feminist take on Cinderella, or how you can get your man and still retain your dignity and read Utopia without feeling guilty. Susannah Grant is a sassy screenwriter and this fairytale is plonked right into history as the Queen of France (Jeanne Moreau) regales the Brothers Grimm the story of Danielle, the unfortunate girl whose father has married a right cow (Anjelica Huston) with two daughters (Megan Dodds and Melanie Lynskey) and then he goes and dies and leaves her in their terrible hands. Drew Barrymore is the girl who loses her shoe after making it to the ball, Dougray Scott is the well-read but out of control prince who doesn’t want to settle down in organised matrimony to the dismay of his parents. This is smart and witty without the pantomime that usually accompanies the story and Barrymore is just about perfect as you’d expect in a gorgeous looking outing shot on location in France.  The final twist is but well deserved! Great fun. Directed by Andy Tennant.

Only You (1994)

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Faith (Marisa Tomei) believes from a childhood episode with a ouija board that it’s writ in her destiny to marry ‘Damon Bradley.’ So she calls off her wedding to a podiatrist and runs away to Venice with BFF and sister in law Kate (Bonnie Hunt) to locate an elusive man who is a colleague of her husband-to-be flying there that day. They have to go to Rome to track him down. When she meets cute a man who helps with her shoe (Robert Downey) he claims to be him. But after a romantic evening he says his name is actually Peter Wright and he really has fallen in love with her. Then he gives in and apparently assists in her quest to find this fabled individual who really is in Italy. Mild, not as good as you’d wish but never as bad as you’d dread, this modern spin on Cinderella from Diane Drake is a decent romcom with delightful leads, a fantastic supporting turn from Hunt, stunning scenery and a fetishist’s appreciation of fine footwear. You want more? Sheesh! Directed by Norman Jewison.

Beauty and the Beast (2017)

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It seems a little odd to suggest the obvious – that this remake isn’t as good as the original – until you recall that the 1991 animation was the first one to be nominated for the Academy Award as Best Picture. While a little flawed, it didn’t outstay its welcome. The opening narration here seems to go on for about a half a day. As voiceovers go, it’s redundant if you stick to the Show Don’t Tell rule of cinematic story:  we can SEE what’s happening as Belle (Emma Watson) trots around the village waving her book-reading superiority at her fellow natives. Gaston (Luke Evans) is a bumptious character, hilariously played and sets the tone proper with his antics chasing ‘the most beautiful girl in the village’ (hmm….) His self-love is reflected in the slavering attentions of sidekick LeFou (Josh Gad) and the opening sequence culminates in an outstandingly well done groupsing at the local inn.This is one of the film’s best scenes. Meanwhile, Belle’s papa Maurice (Kevin Kline) needs to travel for his work and promises to bring her back a rose – like he does every year. And when he finds the enchanted castle where Beast (Dan Stevens, who makes a very wan prince indeed) resides reclusively since having a spell cast upon him years earlier … Belle arrives to save him and swaps places and the rest you know. The animated houseware is now characterised through CGI and voiced among others by Ian McKellen (Cogsworth – he previously worked with director Bill Condon in the wonderful Gods and Monsters), Ewan McGregor (Lumiere), Stanley Tucci (Cadenza) and most disappointingly, Emma Thompson (Mrs Potts) whose harsh faux Cockney cannot approximate to the warmth and sheer incomparable charisma of Angela Lansbury. The whole film is shot in an incredibly dark palette which renders the experience quite difficult – made worse in 3D – and the staging is very awkward in places: the first ballroom scene, featuring the famous dance between Belle and Beast is really underwhelming (remember the brilliance of the original?) suggesting a lack of attention not just to famous musicals of the past but basic dance steps, decent choreography and a sense of magic which is nonexistent at what should have been the story’s high point. The shots are completely wrong for such a sequence. There are great life lessons in the story – misunderstanding people on the basis of their appearances, the swift way in which groups become mobs and the way that Belle is told of her mother’s death is very well done but the narrative momentum is lost to bad handling. The outstanding performance is by Luke Evans, literally pitch perfect in an overly long underimpressive production. Maybe if they hadn’t been so hellbent on making something so politically correct/gay/racially diverse they’d have had a monster film.There’s always La Belle et la Bete.

A Kid for Two Farthings (1955)

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A warm, atmospheric portrait of the Jewish community in Petticoat Lane, Wolf Mankowitz adapted his own novel to be directed by that supremely empathetic man, Carol Reed, whose own pictures of childhood would reach a kind of apogee with Oliver! Jonathan Ashmore is little Joe, whose mother Celia Johnson is left alone while her husband works in South Africa and their tailor landlord David Kossoff’s stories entertain but also soothe Joe when one after another his pets die. Joe believes in unicorns so when he finds a one-horned kid goat he thinks fairytales come true and his story is intertwined with that of the startlingly sweet Diana Dors, in love with her boxer boyfriend Joe Robinson, who like most of his ilk, is mixed up with lowlifes who want him involved in match-fixing. Joe now thinks if things happen there’s a 50/50 chance it’s because he’s wished for them on his unicorn:  he’s got a point …This piquant comedy drama has excited some critics about its portrait of Anglo-Jewry but let’s face it nowadays that goat would be a kebab. A wonderful, vibrant film with a great cast including Sydney Tafler, Sid James, Brenda de Banzie, Lou Jacobi, Joseph Tomelty and Irene Handl, this makes you feel like you’re right in the middle of everything. It features young Ashmore’s only film performance – he grew up to be Bernard Katz Professor of Biophysics at University College London:  what a shlemiel!!

Beauty and the Beast (1991)

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This animation brought Disney back to its classic roots with Linda Woolverton’s screenplay (working from a painstaking adaptation by eleven scribes!) of the French fairytale hitting all the right story points at a rattling pace (84 minutes). It was the first animation to be nominated for Best Picture at the Academy Awards. The songs by Alan Menken and Howard Ashman are pretty great and use a variety of forms including waltz and they are exceptionally well positioned in the narrative:  it helps that they are performed by experienced stage vets, including Paige O’Hara as bookworm Belle, who falls for Beast (Robby Benson) after he’s exchanged her father for her in his enchanted castle. If it falls down anywhere in it’s in the sequences outside – interestingly this is the flaw shared with its progenitor, Jean Cocteau’s magical La Belle et la bete (1946), a live action version whose animated statuary proved a spellbinding lure into the rest of the tale. On a technical level, Disney had abandoned their original hand inking technique in the late 1950s and the new CAPS system developed by Pixar enabled them to utilise a wider and more subtle colour palette in conjunction with digitalisation – just wait for your jaw to drop during the ballroom scene. Angela Lansbury and Bradley Pierce as Mrs Potts and her son Chip (of the teapot Potts) are particularly good, and Lumiere, the candlestick maitre d’hotel (Jerry Orbach) is pretty wild, with a great sidekick in Cogsworth the clock (David Ogden Stiers). All girls should have a library like the one gifted Belle and have the Academy Award-winning title song sung to them. Be Our Guest! Compelling. Produced by Don Hahn, directed by Gary Trousdale and Kirk Wise.

Ball of Fire (1941)

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Superb screwball comedy, based on a Billy Wilder story he co-wrote with Thomas Monroe subverting Snow White and the Seven Dwarfs. Adapted by Wilder and collaborator Charles Brackett it becomes the tale of innocent grammarian Professor Bertram Potts (Gary Cooper) holed up in a NYC brownstone for four years with six other experts compiling an encyclopaedia who finds himself stumped when it comes to contemporary slang. A conversation with a delivery man leaves him at a nightclub where burlesque dancer and singer Sugarpuss O’Shea (Barbara Stanwyck) performs with the Gene Krupa Orchestra and he enters a world of boogie woogie and moolah. Her gangster boyfriend Dana Andrews is on the lam and she needs to hide out to stop being forced to testify against him so feigning a cold takes up residence with the experts whereupon her illness is proclaimed “a slight rosiness in the laryngeal area” to which she retorts “It’s as red as The Daily Worker and just as sore!” Dialogue to die for, fabulous dresses (by Edith Head), a winning and unlikely romance (all the ‘dwarfs’ love her – the housekeeper, not so much), all are sublimated in a very odd shootout with Dan Duryea proving a patsy. Extremely funny indeed. Directed by Howard Hawks, this would eventually be remade by him as the musical A Song is Born.