Contos de Hoffmann

What a splendid film is this combination of opera and ballet for those partial to this type of fare. The performance of Robert Helpmann in four roles is exceptional and dancer Leonid Massine makes a chilling villain as Schlemil in the utterly fantastic "Tale of Giuletta". Ludmilla Tcherina as Giuletta is an alluring sex-goddess and enslaver of men. I am totally absorbed whenever I watch this episode. Having said all this, I must also say that the "Tale of Antonia" is a severe letdown after the two preceding episodes. It is not just the film version that is bad -- it was actually a letdown the first time I saw the opera live at the old Metropolitan Opera 45 years ago. Actually, there have been suggestions that the "Antonia" episode be moved from last to first episode sequentially in the opera, however I doubt if this would make a significant improvement. If I am correct, the "Antonia" episode was completed by another composer, Offenbach having died before completing Tales of Hoffmann. Ahhh...that hauntingly beautiful "Barcarolle"....nothing can compare to it!! And the film version is just icing on the cake.

Powell and Pressburger made this overblown opera a few years after their ballet film, The Red Shoes. Featuring good performances from Robert Rounsville, Moira Shearer, Robert Helpmann and Pamela Brown and some fantastic images; plus that great music from Offenbach (not always easy to follow the stories but they are enjoyable) and lots of garish Technicolor. I think Olympia might be my favourite of the stories but I did find them all equally excellent. Hard to categorise this movie but in the P&P canon it stands as one of their best.

"The Tales of Hoffmann" (1951) - a beautifully photographed film version of Jacques Offenbach's opera, his final masterpiece is a magic (and there is no other word to describe it) blend of Adventure / Romance / Fantasy / with an endless stream of gorgeous melodies, seductive and tender love scenes, bizarre characters - comic, romantic or villainous, and tragic climaxes. The film was a follow-up to "The Red Shoes" (1948) a fantasy/musical/romance/drama set in the world of ballet with the same directors, stars, and production designers.

In "The Tales of Hoffmann", Robert Rounsevill stars as E.T.A. (Ernst Theodore Amadeus) Hoffmann, the poet and writer who tells three stories of his great but unhappy loves all ending tragically thanks to the meddling of his enemy, a supernatural villain (Robert Helpmann as quadruple evil, Lindorf, Coppelius, Dapertutto and Dr Miracle). Objects of Hoffmann's love and admiration include Olympia the wind-up doll (Moira Shearer who also plays Stella the dancer, the fourth and yet another Hoffmann's misadventure), Giulietta, the Venetian courtesan who sails away after trying to capture Hoffmann's soul (Ludmilla Tchérina -absolutely brilliant as the siren and the seductress who elegantly walks over the dead bodies, literally), and Antonia the beautiful opera-singer with the fatal voice and deadly illness. One of the greatest choreographers and dancers of the last century, Léonide Massine shines in three absolutely different roles demonstrating his talent as a dancer, strong emotions and tremendous humor.

What makes "The Tales of Hoffmann" not just an ordinary screen adaptation but the stunning unforgettable event, the film which had inspired the future famous directors George Romero and Martin Scorsese to become the filmmakers is the perfect combination of fantasy, classical music, ballet, singing, stunning visual effects, imaginative and often bizarre and even disturbing images that would fit a horror movie (deconstructing Olympia –the doll is horrifying), incredible but calculated feast of colors, their mixture, the unique color palette to match each story, camera work that is so innovative and dynamic that even now, 56 years after the film was made, looks fresh and modern. The feast for eyes, ears, and feelings, "The Tales of Hoffmann" is the love child of incredibly talented people from different epochs and countries. The opera by Jacques Offenbach, the French composer is based on the dark romantic fairy tales by the German E.T. A. Hoffmann. The team of two directors known as "The Archers", the British Michael Powell and the Hungarian Jew Emeric Pressburger who had to flee his country before the WWII, and their international team of stars, color consultants, choreographers and production designers made this miracle happen. The last but not the least is legendary Sir Thomas Beecham conducting the Royal Philharmonic Orchestra.

I was privy to two views of Powell and Pressburger's THE TALES OF HOFFMAN before watching it: filmmaker Martin Scorsese's passion for the film, stemming from childhood, and critic Imogen Sara Smith's confession that she found the movie "airless." Most viewers seem to agree with Scorsese. There is no doubt that the visuals are imaginative and gorgeous: if you loved the ballet sequence of THE RED SHOES, then this gives you two hours' worth of that same expressionistic sublimity.

However, unlike THE RED SHOES, HOFMMAN is a much colder experience. For a film about the joys and sufferings of love and desire, the whole thing is quite remote, never reaching the emotional depth of other Powell and Pressburger films. The whole thing feels overlong and if you aren't an opera fan, you aren't likely to take to the music either.

The three sequences which make up the runtime are uneven: the Olympia story is whimsical and fun though a touch overlong; the Giuletta sequence is gothic and well-paced; the Antonia sequence is just about the worst. Olympia and Giuletta benefit from having charismatic performers at their center in Moira Shearer and Ludmilla Tcherina, but Ann Ayars lacks any real personality as the dying songstress, making the last section such a drag to sit through.

By the time the film came to its close, I was more than ready for it to be done with. No doubt, a lot went into the sets, costumes, special effects, and camera work. I must also give a shout-out to Robert Rounseville as Hoffman: he carries himself well throughout the long running time. But I'm sorry to be the naysayer: when a movie is over two hours long, I need more than gorgeous visuals to see me through it.

TALES OF Hoffman – Powell & Pressburger This colorful film adaptation of an by Offenbach is a musical in the truest sense, meaning every bit of narrative and dialog is put forth by means of song. I am not in general the biggest fan of such endeavors, but it works quite well for this film, although some of the love paeans may be outstaying their welcome.

In the story a poet – Hoffman – tells in episodic fashion about the many times that he has loved and lost. There have been several films made with such a theme but Hoffman stands well apart because of the Goth-fantastic nature of the narratives. Hoffman, in turn, falls in love with Olympia - a puppet, Guiletta - the temptress of a soul-stealing demon, and Antonia - a singer doomed by fatal consumptive illness.

This narrative is complemented by the brilliantly supportive artistic design of the film. The makers construct a deliberate stage-like ambiance, with the use of representative backdrops, suitably exaggerated props and striking motifs to convey the settings and moods of the various episodes. In this aspect it shares strong kinship with Masaki Kobayashi's period ghost story anthology Kwaidan. You also have the concept of the same actor returning to play different parts in the various episodes of Hoffman's life, the most notable of which is Robert Helpmann who portrays the sinister element in all the episodes (and with his vampiric menacing look, does a terrific job of it, although his motive for evil in the Antonia episode goes unexplained).

The fantastic elements of the plot, color-drenched distinctive look, intricate balletic choreography and excellent fit of all the actors in their roles make Tales of Hoffman a very interesting watching experience on the whole.

One of my caveats with the film is that Hoffman's companion Nicklaus is never properly explained. Who is this woman in man's garb and why is she doing what she does?