YouRebelScum
Entrou em set. de 1999
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Classificação de YouRebelScum
Between 1946 and 1948 the film-making team of Michael Powell and Emeric
Pressburger produced, in quick succession, three of the greatest British films ever made: A Matter of Life and Death, Black Narcissus and this, arguably their masterpiece in a career studded with masterpieces.
The Red Shoes follows the careers of two young artists as they join the
prestigious Ballet Lermontov. Vicky is a beautiful, red-headed ballerina, Julian a gifted composer. The two are brought together by the impresario Baron
Lermontov, who rules over his company with a combination of ruthless
discipline and suave charm. The Baron's arrogance and intensity are matched
only by his genius for assembling talent Vicky and Julian join a team that
includes flamboyant principal dancer Grischa, kindly set designer Ratov and
eccentric conductor Livy. The whole team is brought together in Monte Carlo to begin work on the company's new project: a ballet based on the Hans Christian Andersen fairy tale of The Red Shoes'. Vicky is plucked from the corps to dance the lead and Julian produces an entirely new score. As the pair are drawn
closer by intense rehearsals, Lermontov's initially paternal gaze curdles into vicious jealousy
This is a film that thrills and delights on every level. From Jack Cardiff's
gorgeous Technicolour photography and Brian Easedale's strikingly modernist
score to Hein Heckroth's exquisite production design, every aspect of the film achieves nothing less than perfection. Performances and remember that three of the main characters, Helpmann, Massine and Tchérina were not actors but
professional ballet dancers are uniformly excellent. The 15-minute dance
sequence in which the viewer is taken literally into' the world of the Red Shoes is justly famous, a swirling assembly of colour, sound and image that has never been equalled.
Of special note is the writing: Pressburger, a Hungarian immigrant to England, wrote delicious dialogue for his largely upper class characters. Here as in The Life and Death of Colonel Blimp' he sees the English as only an outsider can, sketching the characters with rare affection and insight. This applies not only to the two, English leads, but also to the Eastern European Baron, whose devastating wit is exhibited like a slender epee in more than one scene. Indeed, even the minor characters are etched out like tiny, perfect miniatures by their gleaming dialogue.
Powell and Pressburger brought to the screen some of the most dazzling
displays of visual ingenuity ever created. The Red Shoes is their highest
achievement, their gift to the cinema-going universe.
Pressburger produced, in quick succession, three of the greatest British films ever made: A Matter of Life and Death, Black Narcissus and this, arguably their masterpiece in a career studded with masterpieces.
The Red Shoes follows the careers of two young artists as they join the
prestigious Ballet Lermontov. Vicky is a beautiful, red-headed ballerina, Julian a gifted composer. The two are brought together by the impresario Baron
Lermontov, who rules over his company with a combination of ruthless
discipline and suave charm. The Baron's arrogance and intensity are matched
only by his genius for assembling talent Vicky and Julian join a team that
includes flamboyant principal dancer Grischa, kindly set designer Ratov and
eccentric conductor Livy. The whole team is brought together in Monte Carlo to begin work on the company's new project: a ballet based on the Hans Christian Andersen fairy tale of The Red Shoes'. Vicky is plucked from the corps to dance the lead and Julian produces an entirely new score. As the pair are drawn
closer by intense rehearsals, Lermontov's initially paternal gaze curdles into vicious jealousy
This is a film that thrills and delights on every level. From Jack Cardiff's
gorgeous Technicolour photography and Brian Easedale's strikingly modernist
score to Hein Heckroth's exquisite production design, every aspect of the film achieves nothing less than perfection. Performances and remember that three of the main characters, Helpmann, Massine and Tchérina were not actors but
professional ballet dancers are uniformly excellent. The 15-minute dance
sequence in which the viewer is taken literally into' the world of the Red Shoes is justly famous, a swirling assembly of colour, sound and image that has never been equalled.
Of special note is the writing: Pressburger, a Hungarian immigrant to England, wrote delicious dialogue for his largely upper class characters. Here as in The Life and Death of Colonel Blimp' he sees the English as only an outsider can, sketching the characters with rare affection and insight. This applies not only to the two, English leads, but also to the Eastern European Baron, whose devastating wit is exhibited like a slender epee in more than one scene. Indeed, even the minor characters are etched out like tiny, perfect miniatures by their gleaming dialogue.
Powell and Pressburger brought to the screen some of the most dazzling
displays of visual ingenuity ever created. The Red Shoes is their highest
achievement, their gift to the cinema-going universe.