Moira Shearer

Nascido(a) em
17 de janeiro de 1926 · Dunfermline, Fife, Escócia, Reino Unido
Falecido(a) em
31 de janeiro de 2006 · Oxford, Oxfordshire, Inglaterra, Reino Unido (sepse e infecção do trato urinário)
Nome de nascimento
Moira Shearer King
Altura
1,65 m

At the time she was selected to star in Os Sapatinhos Vermelhos (1948) she was second only to the world renowned prima ballerina Margot Fonteyn at the famous Sadler's Wells Ballet.
When Ludovic Kennedy saw her in Os Sapatinhos Vermelhos (1948), he said that he knew instantly that she was going to be the girl he would marry. He actively sought her out and married her two years later, in February 1950 in the Chapel Royal in London's Hampton Court Palace.
Was performing at Covent Garden until 1953, when a combination of ill health, injury and her wish to make a name for herself as an actress made her decide to retire from the ballet stage at age 27.
She was little-known and only in her early 20s when Michael Powell approached her about starring in Os Sapatinhos Vermelhos (1948), and she had never been in a film; Powell offered her £1000, a considerable sum for most people in those days (many earned less than that in a year) and was surprised when she held out for £5000, which he did eventually pay her. He also directed her in her two other films, Contos de Hoffmann (1951) and A Tortura do Medo (1960), but she had little affection or respect for him and usually spoke harshly of him in interviews both during his lifetime and after his death.
When her first daughter was born, the "Sydney Morning Herald" prefaced the article with the heading "Pink Booties for Red Shoes".

If I am dubious about films and film people; the film industry has only itself to blame.
I have been asked to play William Shakespeare. Other parts include a George Bernard Shaw play and a classic previously made by one of the screen's finest actresses. It would be ludicrous for me to try to play any of these parts. I am not an actress.
What people cannot realize is that a ballet dancer just cannot afford to give up ballet for a moment. After a month without practising you are thrown back years.
Isn't it strange that something you've never really wanted to do turns out to be the very thing that's given you a name and identity? . . . Os Sapatinhos Vermelhos (1948) ruined my career in the ballet. They [her peers] never trusted me again.