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IMDbPro

Os Sapatinhos Vermelhos

Título original: The Red Shoes
  • 1948
  • Livre
  • 2 h 15 min
AVALIAÇÃO DA IMDb
8,1/10
42 mil
SUA AVALIAÇÃO
Moira Shearer in Os Sapatinhos Vermelhos (1948)
Three Reasons Criterion Trailer for The Red Shoes
Reproduzir trailer1:39
2 vídeos
99+ fotos
DramaMusicRomance

Uma jovem bailarina está dividida entre o homem que ama e sua busca para se tornar uma dançarina.Uma jovem bailarina está dividida entre o homem que ama e sua busca para se tornar uma dançarina.Uma jovem bailarina está dividida entre o homem que ama e sua busca para se tornar uma dançarina.

  • Direção
    • Michael Powell
    • Emeric Pressburger
  • Roteiristas
    • Hans Christian Andersen
    • Emeric Pressburger
    • Keith Winter
  • Artistas
    • Anton Walbrook
    • Marius Goring
    • Moira Shearer
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    8,1/10
    42 mil
    SUA AVALIAÇÃO
    • Direção
      • Michael Powell
      • Emeric Pressburger
    • Roteiristas
      • Hans Christian Andersen
      • Emeric Pressburger
      • Keith Winter
    • Artistas
      • Anton Walbrook
      • Marius Goring
      • Moira Shearer
    • 224Avaliações de usuários
    • 113Avaliações da crítica
  • Veja as informações de produção no IMDbPro
    • Ganhou 2 Oscars
      • 5 vitórias e 5 indicações no total

    Vídeos2

    The Red Shoes: [Blu Ray]
    Trailer 1:39
    The Red Shoes: [Blu Ray]
    The Red Shoes
    Trailer 2:29
    The Red Shoes
    The Red Shoes
    Trailer 2:29
    The Red Shoes

    Fotos280

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    Elenco principal90

    Editar
    Anton Walbrook
    Anton Walbrook
    • Boris Lermontov
    Marius Goring
    Marius Goring
    • Julian Craster
    Moira Shearer
    Moira Shearer
    • Victoria Page
    Robert Helpmann
    Robert Helpmann
    • Ivan Boleslawsky
    Albert Bassermann
    Albert Bassermann
    • Sergei Ratov
    • (as Albert Basserman)
    Léonide Massine
    Léonide Massine
    • Grischa Ljubov
    • (as Leonide Massine)
    Esmond Knight
    Esmond Knight
    • Livy
    Austin Trevor
    Austin Trevor
    • Professor Palmer
    Irene Browne
    Irene Browne
    • Lady Neston
    Hay Petrie
    Hay Petrie
    • Boisson
    Eric Berry
    • Dimitri
    Derek Elphinstone
    • Lord Oldham
    Ludmilla Tchérina
    Ludmilla Tchérina
    • Irina Boronskaja
    • (as Ludmilla Tcherina)
    Marie Rambert
    • Madame Rambert
    • (as Madame Rambert)
    Michel Bazalgette
    • M. Rideaut
    Marcel Poncin
    • M. Boudin
    Yvonne Andre
    • Vicky's Dresser
    Joy Rawlins
    • Gwladys - Vicky's friend
    • Direção
      • Michael Powell
      • Emeric Pressburger
    • Roteiristas
      • Hans Christian Andersen
      • Emeric Pressburger
      • Keith Winter
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários224

    8,141.7K
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    Avaliações em destaque

    10DrMMGilchrist

    A Duel for Art: a Hero *for* our Time

    Art as vocation; art as religion; art as the purpose of life: The Archers team of Powell and Pressburger aimed high with 'The Red Shoes' - and scored a bull's-eye. The film is a feast for the senses: cinematography (by Archers regular Jack Cardiff), music, acting and ballet are combined to make a magnificent whole. Emeric Pressburger's story appears simple at first glance, but is a challenging study of the value and purpose of art, and of aestheticism as a creed (a term not used lightly). It is given life by some of the most talented dancers of the era: Leonid Myasin/Massine as lovable Grisha; Ludmilla Tchérina as glamorous, flighty Irina; Robert Helpmann - who choreographed the title ballet - as Ivan; Marie Rambert as herself, and Moira Shearer (Ashton's 'Cinderella') highly appealing as the heroine Vicky. The non-dancing cast is led by Archers regulars Anton Walbrook (magnificent - why no Oscar?) and Marius Goring (so convincing I ended up wanting to slap him).

    The plot combines Andersen's fable, 'The Red Shoes' with elements of Dyagilev's relationships with Nizhinskii and Myasin, and the effect of the younger men's marriages. Dancer Vicky Page (Shearer) and composer Julian Craster (Goring) are taken up and encouraged by ballet impresario Boris Lermontov (Walbrook).

    Boris is the film's dominant character, an obvious portrait of Sergei Pavlovich Dyagilev (1872-1929), one of 20C culture's greatest figures, the driving force of 'Mir Iskusstva' and the 'Ballets Russes'. However, his Scots-Russian surname alludes to Mikhail Yur'evich Lermontov (1814-41), poet and author of 'A Hero of Our Time', Pushkin's successor as the voice of Russian Romanticism. Boris is an aesthete and perfectionist, a true believer in the religion of art. All his passions and energies are channelled into bringing out the best in the company that is his 'family'. He demands equal dedication from his protégés. He believes that if you have an outstanding talent, your primary duty is to give that talent its fullest expression, not fritter it away through mundane distractions and dalliances. Human relationships are transitory: what matters is the art. It is a stern, unsentimental creed, but a noble one.

    Vicky and Julian begin an affair during the creation of the new ballet, 'The Red Shoes' (which we see in full, and has, in its sacrificial death-by-dancing, echoes of Stravinskii's 'Sacre du Printemps', choreographed by Nizhinskii for Dyagilev). Their love tests their commitment to Lermontov's ethic. What makes the conflict interesting and effective is that it is not trivialised as sexual rivalry: Boris is discreetly signalled as gay, like Dyagilev - something reinforced by the casting of Walbrook. (It is unnecessary to highlight the courage, in 1948, of placing centre-stage a dignified, powerful, non-caricatured gay character, played by a gay actor who had escaped Nazi persecution.) The struggle is between real Romanticism - hence Boris's sharing his name with the Byronic poet - and mere 'romance'. But the brutal climax, bringing together Andersen's story with suitably Russian overtones of 'Anna Karenina', is an evasion of decision: a character choosing death rather than commitment one way or the other. The final scene combines tragic lyricism with awareness of the unnecessary waste: and the dance, of course, goes on.

    My understanding of and relationship with 'The Red Shoes' has changed and deepened with time. In girlhood, I was inclined to be relatively indulgent to Vicky and Julian. In middle age, they seem plain self-indulgent. Julian, frankly, isn't worth any sacrifice. Ballet is a "second-rate form of expression", he says in a quarrel with Boris - who, of course, launched his career. (If Boris had punched *him* instead of the mirror, how I'd have cheered!) He regards Vicky as a muse for his own fulfilment as a composer, while she frets with frustration, her pointe shoes in a drawer, her own artistic fulfilment denied. Their separate beds after marriage seem a revealing insight, not merely '40s film censorship. On the spectrum of fictional obnoxiousness, Julian's not far behind Angel Clare in 'Tess of the d'Urbervilles'. Boris's manipulations are actually *less* selfish - directed towards enabling Vicky to express *her* creativity to the maximum - not bury her talent in a drawer.

    Yes - Boris's passionately held vocation and values now evoke my strongest sympathies and recognition/identification as a fellow 'true believer' in art (and long-time Dyagilev-ite). Young sentimentalists may hate him (he knows "adolescent nonsense" when he hears it!), but he speaks hard truths and much wisdom. Personal relationships are fragile; a dancer's active career can be short. If you have a gift, service to it must come first: it is a sacred duty. Domesticity can wait. Yes, he is autocratic, temperamental: prophets and visionaries usually are. And what is his job? To unite other exceptionally gifted people from diverse disciplines - painting, costume, music, dance - with *their* competing egos and artistic temperaments, to create the multifaceted art of ballet. Herding cats is easier! And yet he is capable of generosity and forgiveness, as with the prodigal Irina. A complex, moving, genuinely heroic figure, 'The Red Shoes' is more his film than Vicky and Julian's.

    But what went wrong with British film? The Archers made 'The Red Shoes' in 1948; now we have vacuous romantic-comedy/chick-flick pap or drab kitchen-sinkers that might as well be TV soap episodes, betokening a loss of cultural and intellectual confidence. (In visual flair, has The Archers' torch passed to Baz Luhrmann? Time will tell!) The present cultural climate treats the arts as an optional add-on to civilisation, rather than a defining part of what it means to be civilised. The arts are constantly called upon to justify their existence in commercial or social engineering terms, not for their intrinsic worth. A film, then, in which the most compelling character advocates Art for Art's Sake - art as a sacred calling - flings a gauntlet in the face of a market-driven, anti-intellectual, anti-beauty, utilitarian society. Sergei Pavlovich/Boris Lermontov, where are you now we need you?!!!
    emuir-1

    A true masterpiece

    A great film speaks to each of us in a different way. To me this more than a colourful piece of escapist entertainment, this was a glimpse into a world of magnificent color, sumptious settings, French Haute Couture, the theatre, music, luxury hotels, elegant opera houses, chaffeured Rolls Royce cars, travel to the South of France - in short, everything that a child in the near bankrupt England in 1948 had never seen and could barely imagine.

    I was fascinated not only by the glimpse of an elitist life, but of the time capsule which the film presented of a time and place that no longer exists as it was at that time. The views of London in 1948, are similar to watching "World War II in Color" on the history channel. When the ballet company travelled, they took the train. Rationing may still have existed back then, and travellers could not take money out of the country, except for a ridiculously inadequate amount; therefore, if you went abroad you had to know someone with whom you could stay. I also found myself wondering how they got the money to make a technicolour film in 1947, when they began filming.

    Part of the film takes place in Monte Carlo, only 20 years after the heyday of the famous Ballet Russe. In fact the ballet company in the film is quite obviously based on the Diaghilev Company. Former member Leonid Massine has a major part in the film, and Marie Rambert has a cameo role.

    This is also a ballet film for those who do not really care for ballet. The plot is simple - rising young ballerina falls in love with rising young composer and must choose between him and a career possessively controlled by the impressario - and acts as a frame for the ballet. The film is as near perfection as it is possible to get, and watching it in 2004, it does not seem to have dated at all. Everyone, especially Anton Walbrook, is perfectly cast. The script is witty and occasionally humorous. The technicolour photography is superb, especially capturing Moira Shearer's flaming red hair.

    The audio commentary on the DVD adds immensely to the enjoyment of the film, which is one that can be watched over and over. o understand how great this film really is, try watching Baz Luhrmann's "Moulin Rouge" travesty afterwards.
    10Hugh-14

    P&P's Masterpiece

    I have seen this film about 30 times in 30 years and for me this film will always be special. Astonishingly, my wife, who is a Ballet Teacher, doesn't care at all for this film finding it too 'affected'. Perhaps as I am not involved with ballet at a professional level is a reason why I can enjoy this vibrant, colourful fantasy so much, but then our ballet friends adore the film, so who knows why this film affects some so profoundly (Spielberg&Scorsese!!) and not others. Anton Walbrook's authoritative performance is so memorable and Moira Shearer dances beautifully. Perhaps because the film is so highly charged with passion and emotion it will never please everyone, but I feel this is one of the great achievements of British Cinema and a film so rich and inspirational you will never wish to forget it.
    10Spleen

    One of the few films impossible to over-praise

    The film isn't THAT closely related to Hans Christian Andersen's story; but it would be a good idea to read the story before seeing the film. It's one of Andersen's better stories, anyway.

    Another minor note: if no other consideration will sway you, see `The Red Shoes' for a perceptive look the position of the ballet composer relative to that of the dancers. For Powell and Pressburger it's no more than a diverting side issue, but it's one of the things that especially interested me. If you look at advertisements for ballet productions today, you'll notice that the composer's name is NEVER printed - even if the ballet is called `Cinderella' and the public has no way of working out whose score is being used. It puts the composer in his place, no doubt. Yet musicians at the ballet are in the habit of thinking that they're the most important people there.

    I'm on their side. I happen to loathe classical ballet as such. `Swan Lake' strikes me as a lovely score disfigured by people who insist on dancing to it. Yet `The Red Shoes' makes me put all of this aside. Indeed, it would be fair to say that I simply CAN'T dislike ballet while watching the film - which is especially odd, considering some of the things it does to people.

    So, yes, if `The Red Shoes' can have this effect on ME, of all people, it's surely one of the best films ever made. I can't agree at all with the people who describe the film as `melodrama' or `camp'. (The latter charge I scarcely even understand.) The story is what it is and it's told at the most realistic and sincere level appropriate. The characters who act theatrically (NOT melodramatically) are all creatures of the theatre, and have not spent not just their days but their lives in Lermontov's troupe. If you want a more understated view of things then watch the musicians. To put in a word for one of them, Brian Easdale's source music is superb: GOOD music of a kind that an English composer like Craster might well be expected to write. It's clear that Easdale wrote Craster's compositions first, and then constructed the rest of the score around them, rather than vice versa.
    Snow Leopard

    A Very Creative Movie About Creative Artists At Work

    The resourceful approach that characterizes so many of the Michael Powell/ Emeric Pressburger collaborations makes "The Red Shoes" one of the most creative and interesting of any of the "back stage" movies that show the lives and dreams of creative artists at work. The characters are quite interesting in themselves, and the story brings out some worthwhile aspects of each of their natures while giving a realistic and often fascinating look at their world.

    By no means do you have to be a ballet fan to appreciate and enjoy the story or the settings. While fully convincing in themselves, they are also set up so that the most important aspects and conflicts of the plot could easily be applied to those working in other creative fields as well.

    Moira Shearer, Anton Walbrook, and Marius Goring make a nicely balanced and intriguing trio of main characters. The opening scenes work very well in bringing them together while being enjoyable to watch in themselves. From there, the creative tensions are built up steadily as the story itself becomes even more interesting. The script makes use of the best conventions of its genre, while never allowing itself to become formulaic.

    There is also a good deal of creativity in many of the individual sequences. The opening scene at the opera is particularly clever in playing off of a viewer's initial expectations. The most spectacular sequence is the "red shoes" ballet segment itself, a very imaginative and enjoyable mini-movie that also parallels some of the main story's most interesting ideas. All in all, "The Red Shoes" well deserves its reputation as a distinctive classic.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      The title ballet sequence took six weeks to shoot and employed over 120 paintings by Hein Heckroth. The dancing newspaper was achieved through careful cutting and use of wires.
    • Erros de gravação
      Near the end, when Vicky is getting ready to go on stage for "The Red Shoes" once again, she's wearing the red dancing shoes, but the play starts with the white dancing shoes; only during the play does her character find the red shoes and put them on.

      However, this is not an accidental goof. This is essential to the plot and the director wants us to overlook this detail so that all the symbolism of Vicky wearing those red shoes while "unable to stop dancing" can be fully explored.
    • Citações

      Boris Lermontov: Why do you want to dance?

      [Vicky thinks for a short while]

      Victoria Page: Why do you want to live?

      [Lermontov is suprised at the answer]

      Boris Lermontov: Well I don't know exactly why, er, but I must.

      Victoria Page: That's my answer too.

    • Cenas durante ou pós-créditos
      The end of the film finishes with 'Finis' instead of 'The End'.
    • Versões alternativas
      There is an Italian edition of this film on DVD, distributed by DNA srl, "THE TALES OF HOFFMANN (1951) + THE RED SHOES (1948)" (2 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
    • Conexões
      Featured in The Screen Writer (1950)
    • Trilhas sonoras
      The Ballet of The Red Shoes
      Music by Brian Easdale

      Performed by Royal Philharmonic Orchestra (as The Royal Philharmonic Orchestra)

      Conducted by Thomas Beecham (as Sir Thomas Beecham, Bart.)

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    Perguntas frequentes34

    • How long is The Red Shoes?Fornecido pela Alexa
    • What is "The Red Shoes" about?
    • Is "The Red Shoes" based on a book?
    • Is a copy of Andersen's "The Red Shoes" online?

    Detalhes

    Editar
    • Data de lançamento
      • 6 de setembro de 1948 (Reino Unido)
    • País de origem
      • Reino Unido
    • Idiomas
      • Inglês
      • Francês
      • Russo
    • Também conhecido como
      • Las zapatillas rojas
    • Locações de filme
      • Hotel de Paris, Place du Casino, Monte Carlo, Mônaco
    • Empresas de produção
      • The Archers
      • Independent Producers
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • £ 500.000 (estimativa)
    • Faturamento bruto mundial
      • US$ 184.271
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      2 horas 15 minutos
    • Cor
      • Color
    • Proporção
      • 1.37 : 1

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