Casse-noisette

This was so beautiful. I am a ballerina and I have played both the Sugar Plum Fairy and Marie in numerous productions of this, but I have to admit that this is IT. This is the ultimate #1 version of this classical ballet. It was so beautiful. The music is absolutely marvelous and the scenery is gorgeous. The woman who plays the Sugar Plum Fairy is absolutely beautiful and does a fabulous job! I saw the Broadway version of this on a visit to NYC and I have to admit that this version was better than the one I saw there. George Balachine does amazing ballet, I wish I could study with him at his School of Ballet. And the composer(I know who it is, but I cant spell his name) is a musical genius. I give it 10/10.

To begin with, let me first say for the record that I understand that this film was made with the non-Ballet-going public in mind, much as 'E.R.' is made for the non-medical public. This may explain how so many people I have spoken to really loved this film. I, however, must protest. As a professional dancer for many years and, now, a choreographer and director of Ballet, I can not add my voice to the choir of approval that this film has received. Indeed, I have found the production, from front to back with rare exception, to be an ineffectual copy of a classic ballet. The Horror that is Macauly Culkin (who was obviouly cast to bring the film "star-power" rather than talent) aside, the wrongs against Ballet abound aplenty in this film. The choreography is tipical Latter Balanchine (for the un-trained; make it fast, make it sharp and remove any and all elements of Emotion, the core of dance, in favor of a technicality that will highlight the flaws of even the best dancers), the score (considered by many to be their favorite Tchaikovsky piece) is so badly edited and re-arranged that I doubt if the composer would regognize it, leading to the re-arrangement of the staging into a non-linear hodge-podge of dances that tells no deffinite story, but simply ambles through the remains of a once-great narrative and the camera work, while professional and clean, is more distracting than helpful, always cutting away at inopportune moments in favor of another vantage point. One of the wonderful things about watching ballet on tape is being able to see a variation continualy without edits, there-by showing our hero or heroine actually completing a difficult step or combonation, there-by showing off their talent. When one cuts away from a dancer after three fuete turns and then shows them from another angle doing another three fuetes, how are we, as the viewers, to know if the dancer completed all six in one attempt or did she simply do three and WE saw them twice? With the continuity cut from the dancing, much of the magic of ballet (&/or dance in general) gets lost in the mix. And then, there is the Culkin child. Now, I understand that Young Mr. Culkin is rumored to have grown into a very respectable and nice young man. And I also understand (although reports are sketchy) that he received instruction from the School of American Ballet (SAB), the accademy arm of the New York City Ballet (NYCB), for a short time. But does this really qualify him to play the Nutcracker? His obviouly lack of balletic talent or grace and the ham-handed choreography imposed on the child makes his scenes painful to watch and an embarrassment to not only Mr Culkin and the NYCB, but to the entire dancing world. Would it have not made better sense to have cast an actual dancer in the role and let the art form speak for itself rather than trying to "glam" it up with a familar face?

The one shining moment in other-wise waste of video tape is the Soldier Doll Variation performed in the first act Party Scene. Brilliant and incredible!

Needless to say, however, I was disappointed the first time I saw this film and continue to be so now, years later. If you are interested in seeing a quality production of "the Nutcracker", I would like to recomend either the classical and technically perfect Royal Ballet's version or the more visially oppulant Pacific Northwest Ballet's production, both available on video.

Wendy Whalen's performance as Coffee is the best that I've seen. I recently the San Francisco's Ballet rendition of Coffee and although entertaining, it was not as awe inspiring as Wendy's caressing of the earth with the soles of her feet in this film version of the Nutcracker. I am on a quest to find Coffee performed as a pas de deux, which I was told in fantastic. I will continue to see different versions of the Nutcracker performed by various troupes until I am satisfied. Thank you Ms. Whalen, for the inspiration! I hear there is a Barishnikov version of this film recorded in 1976 that is really out of sight. Barishnikov has such a boyish charm to him that I am sure that I am in for treat. Also, for those of you who live in San Francsico, try to see the Yuan Yuan Tan as the Queen of the Snow. Her lines are so perfect that they scythe time and space. Chinese Tea accompanied by the dragon is also a show stopper. However, I do have one criticism that the dancers from act one do not return to the stage to take their bows at closing curtain. Anyhoo, if this film film proves anything, it that the performing arts is still worth attending. Furthermore, theatrical effects can be far more imaginative and innovative than CGI special effects.

BEWARE OF BOGUS REVIEWS & REVIEWERS. SOME REVIEWERS HAVE ONLY ONE REVIEW. WHEN ITS A POSITIVE REVIEW THAT TELLS ME THEY WERE INVOLVED WITH THE PRODUCTION. NOW I HAVE REVIEWED OVER 400 Christmas MOVIES. I HAVE NO AGENDA. I AM FARE.

The director of "Dirty Dancing" could have done a better job in filming this production. The is not the first feature film to showcase the world's most beloved ballet.

This is a huge chore to watch this interpretation of the holiday classic ballet! The Nutcracker tells the story of a young girl whose love for a toy turns it into the handsome prince Macaulay Culkin ("Richie Rich," "Home Alone"), and together they are brought to the Land of Sweets, where an enchanting spectacle awaits them. Directed by Academy Award-winner Emile Ardolino ("Sister Act," "Dirty Dancing") and narrated by Academy Award-winner Kevin Kline ("Dave," "A Fish Called Wanda").

The lack of closeups and static shots hinder the viewer from fulling embracing it. The 1986 Nutcracker: The Motion Picture is a better viewing experience!

Those who have given this production such a low rating probably have never seen the celebrated George Balanchine production live onstage, or are letting their disdain for the star casting of Macaulay Culkin influence their judgement. The Atlanta Ballet was fortunate enough, from the 1960's to the 1980's, to be the first ballet company authorized to stage this production other than the New York City Ballet, and I have seen it live onstage several times. I can assure readers that the film is a quite accurate rendering of this production, and that the use of a child with limited dancing abilities in the title role is not a cheap stunt dreamed up to showcase Culkin; it was Balanchine's idea to use a child in this role, just as it was his idea to use a child for the role of Marie. The "heavy" dancing is left to the adults in the story.

This is deliberately a stagebound film; in a way, it resembles Laurence Olivier's "Othello". Exactly as in that film, the sets of the stage production have been enlarged to the size of a movie soundstage, but not made any less artificial, and the ballet is straightforwardly photographed with discreet closeups, and without the distracting "music video" quick cuts featured in the 1986 overrated Maurice Sendak-Carroll Ballard version. There are only two false steps in this 1993 film. One is the addition of distracting and completely unnecessary sound effects (mouse squeaks, the children whispering "Ma-gic!" to Drosselmeyer,etc.). Those sound effects are never heard in any stage production of any "Nutcracker", and they have been put in as a cheap concession simply to appease unsophisticated audiences who may not relish the idea of watching a ballet on film.

The other false step is Macaulay Culkin's nutcracker make-up, which looks absolutely ridiculous. When he is on screen as the Nutcracker, rather than wearing a huge mask (as is always done when the Balanchine production is performed onstage), Culkin is actually made up as the toy - he wears what looks like a bald cap, as well as a white wig, whiskers, and a beard. He also has his face rouged up somewhat, and the worst aspect of his make-up is that it is still recognizably his face, amateurishly transformed in a manner similar to Ray Bolger, Jack Haley and Bert Lahr's makeups in "The Wizard of Oz" (that film's makeup results though, worked spectacularly, as this one's does not). And a comparison with Baryshnikov's nutcracker in *his* production shows how wonderfully creative Baryshnikov's nutcracker mask was - the "jaws" actually seemed to move whenever Baryshnikov tilted his head back.

The dancing itself in the Macaulay Culkin version is excellent, of course, except for Culkin himself, whose dancing, as I said, isn't meant to even be spectacular. (The Sugar Plum Fairy and her Cavalier are the prominent dancing roles in Balanchine's production of "The Nutcracker".) The film's colors, though, could be a bit brighter since this IS a fantasy. The choreography is also brilliant, and the adaptation of it is so faithful as to include the sequence that features additional music from Tchaikovsky's ballet "The Sleeping Beauty" - as Marie sneaks downstairs, falls asleep on the sofa, and dreams that Drosselmeyer is "repairing" the broken Nutcracker (this sequence was, of course, never included in Tchaikovsky's original ballet---it is the only sequence in this production which features music from a work other than "The Nutcracker").

Those who have missed out on this film, or those who despise (or loathe it) should give it a chance, despite its two big drawbacks. It is far better than it seems when one first hears that Culkin is in it.