The Red Shoes (1948)

Directors:

Michael Powell
Emeric Pressburger

Writers:

Hans Christian Andersen (fairy tale)
Emeric Pressburger (original screenplay)
(more)

Release Date:

6 September 1948 (UK)

Genre:

Drama | Music | Romance

Tagline:

Dance she did, and dance she must - between her two loves

Plot:

A young ballet dancer is torn between the man she loves and her pursuit to become a prima ballerina.

Plot Keywords:

Ballet | Ballerina | Dancer | Composer | Shoe

Awards:

Won 2 Oscars. Another 2 wins & 5 nominations

Cast

Marius Goring	...	Julian Craster
Jean Short	...	Terry
Gordon Littmann	...	Ike
Julia Lang	...	A Balletomane
Bill Shine	...	Her Mate
Léonide Massine	...	Ljubov (as Leonide Massine)
Anton Walbrook	...	Boris Lermontov
Austin Trevor	...	Prof. Palmer
Esmond Knight	...	Livy
Eric Berry	...	Dimitri
Irene Browne	...	Lady Neston
Moira Shearer	...	Victoria Page
Ludmilla Tchérina	...	Boronskaja (as Ludmilla Tcherina)
Jerry Verno	...	Stage-Door Keeper
Robert Helpmann	...	Ivan Boleslawsky
Albert Bassermann	...	Ratov (as Albert Basserman)
Derek Elphinstone	...	Lord Oldham
Marie Rambert	...	Madame Rambert (as Madame Rambert)
Joy Rawlins	...	Gwladys - Vicky's friend
Marcel Poncin	...	M. Boudin
Michel Bazalgette	...	M. Rideaut
Yvonne Andre	...	Vicky's Dresser
Hay Petrie	...	Boisson
Alan Carter	...	Solo Dancer
Joan Harris	...	Solo Dancer
Joan Sheldon	...	Dancer
Paula Dunning	...	Dancer
Brian Ashbridge	...	Dancer
Denis Carey	...	Dancer
Lynne Dorval	...	Dancer
Helen Ffrance	...	Dancer
Robert Dorning	...	Dancer
Eddie Gaillard	...	Dancer
Paul Hammond	...	Dancer
Tommy Linden	...	Dancer
Trisha Linova	...	Dancer
Anna Marinova	...	Dancer
Guy Massey	...	Dancer
John Regan	...	Dancer
Peggy Sager	...	Dancer
Ruth Sendler	...	Dancer
Hilda Gaunt	...	Accompanist
rest of cast listed alphabetically:
Neville Astor	...	Corps de Ballet (uncredited)
Edmond Audran	...	Corps de Ballet (uncredited)
Mark Baring	...	Corps de Ballet (uncredited)
Peter Bayliss	...	Evans - Lord Oldham's Chauffeur (uncredited)
Michael Bayston	...	Corps de Ballet (uncredited)
Leonard Boucher	...	Corps de Ballet (uncredited)
Anne Byatt	...	Corps de Ballet (uncredited)
Joy Camden	...	Corps de Ballet (uncredited)
Jack Carter	...	Corps de Ballet (uncredited)
Michelle de Lys	...	Lady in Vicky's Dressing Room Before Premiere (uncredited)
Peter Fisk	...	Corps de Ballet (uncredited)
Gladys Forrester	...	Corps de Ballet (uncredited)
Donato Forte	...	Corps de Ballet (uncredited)
Richard George	...	Doorman (uncredited)
Greta Grayson	...	Corps de Ballet (uncredited)
Audrey Harman	...	Corps de Ballet (uncredited)
Pamela Harrington	...	Corps de Ballet (uncredited)
Jean Hébey	...	Parisian Taxi Driver at Opera Square (uncredited)
Suzanne Jemmett	...	Corps de Ballet (uncredited)
Barry Klare	...	Corps de Ballet (uncredited)
Joan Lehman	...	Corps de Ballet (uncredited)
Joyce Linden	...	Corps de Ballet (uncredited)
Charles Lisner	...	Corps de Ballet (uncredited)
Graham MacCormack	...	Corps de Ballet (uncredited)
Enid Martin	...	Corps de Ballet (uncredited)
Denise Merrum	...	Corps de Ballet (uncredited)
Helene Mladova	...	Corps de Ballet (uncredited)
Patricia Norman	...	Corps de Ballet (uncredited)
Yvonne Olena	...	Corps de Ballet (uncredited)
Collin Patrick	...	Corps de Ballet (uncredited)
Philippe Perrottet	...	Corps de Ballet (uncredited)
Emeric Pressburger	...	Man Waiting on Station Platform (uncredited)
Jackie Smithers	...	Corps de Ballet (uncredited)
Saxon Stobart	...	Corps de Ballet (uncredited)
Margaret Tate	...	Corps de Ballet (uncredited)
Meta Thomas	...	Corps de Ballet (uncredited)
John Tore	...	Corps de Ballet (uncredited)
Gladys Walton	...	Corps de Ballet (uncredited)
Elizabeth West	...	Lermontov's Secretary (uncredited)
George Woodbridge	...	Doorman - Covent Garden (uncredited)
Anne Woolliams	...	Corps de Ballet (uncredited)
Marnia Zarina	...	Corps de Ballet (uncredited)

Directed by
Michael Powell
Emeric Pressburger

Writing credits
Hans Christian Andersen		(fairy tale)
Emeric Pressburger		(original screenplay)
Keith Winter		(additional dialogue)
Michael Powell		(written by) and
Emeric Pressburger		(written by)

Produced by
George R. Busby	....	assistant producer
Michael Powell	....	producer
Emeric Pressburger	....	producer

Original Music by
Brian Easdale

Cinematography by
Jack Cardiff		(director of photography)

Film Editing by
Reginald Mills

Production Design by
Hein Heckroth

Art Direction by
Arthur Lawson

Costume Design by
Hein Heckroth		(uncredited)

Makeup Department
George Blackler	....	makeup artist (uncredited)
Eric Carter	....	makeup artist (uncredited)
Ernest Gasser	....	makeup artist (uncredited)

Second Unit Director or Assistant Director
Sydney Streeter	....	assistant director (as Sydney S. Streeter)
J.M. Gibson	....	third assistant director (uncredited)
Laurie Knight	....	third assistant director (uncredited)
Kenneth K. Rick	....	second assistant director (uncredited)

Art Department
Alfred Roberts	....	scenic artist
Bernard Goodwin	....	draughtsman (uncredited)
G. Heavens	....	draughtsman (uncredited)
Don Picton	....	draughtsman (uncredited)
V. Shaw	....	draughtsman (uncredited)
Elven Webb	....	assistant art director (uncredited)
V.B. Wilkins	....	draughtsman (uncredited)
Alan Withy	....	draughtsman (uncredited)

Sound Department
Gordon K. McCallum	....	dubbing (as Gordon MacCullum)
Charles Poulton	....	sound
Al Burton	....	boom operator (uncredited)
Peter Davies	....	first assistant dubbing mixer (uncredited)
Desmond Dew	....	sound recordist (uncredited)
Leonard Trumm	....	dubbing editor (uncredited)

Visual Effects by
George Gunn	....	composite photography: Technicolor (as F. George Gunn)
E. Hague	....	composite photography: Technicolor
Ivor Beddoes	....	special painting (uncredited)
Les Bowie	....	matte artist (uncredited)
Judy Jordan	....	matte artist (uncredited)
Joseph Nathanson	....	special painting (uncredited)

Camera and Electrical Department
Christopher Challis	....	camera
George Cannon	....	still photographer (uncredited)
Bob Kindred	....	clapper loader (uncredited)
Cornel Lucas	....	special still photographer (uncredited)
George Minassian	....	focus puller (uncredited)
John Morgan	....	clapper loader (uncredited)
Alistair Phillips	....	assistant still photographer (uncredited)
Bill Wall	....	chief electrician (uncredited)

Costume and Wardrobe Department
Carven	....	dresses: Mlle. Tcherina (as Carven of Paris)
Dorothy Edwards	....	wardrobe
Jacques Fath	....	dresses: Miss Shearer (as Jacques Fath of Paris)
Mattli	....	dresses: Miss Shearer (as Mattli of London)
Dorothy Edwards	....	dresses: Miss Tcherina (uncredited)
Elsie Withers	....	head of wardrobe (uncredited)

Editorial Department
Noreen Ackland	....	assistant editor (uncredited)
Anne V. Coates	....	second editor (uncredited)
Tony Haynes	....	second assistant editor (uncredited)
Laurie Knight	....	second assistant editor (uncredited)

Music Department
Ted Drake	....	music recordist
Brian Easdale	....	conductor
Brian Easdale	....	music arranger
Royal Philharmonic Orchestra	....	music played by

Other crew
Joan Bridge	....	associate colour control
Alan Carter	....	assistant maitre de ballet: The Ballet of The Red Shoes
Joan Harris	....	assistant maitresse de ballet: The Ballet of The Red Shoes
Robert Helpmann	....	choreographer: The Ballet of The Red Shoes
Natalie Kalmus	....	colour control
Léonide Massine	....	(the part of the Shoemaker created and danced by ) (as Leonide Massine)
Doreen North	....	continuity
J. Arthur Rank	....	presenter
John Seabourne Jr.	....	liaison editor
Joanna Busby	....	assistant continuity (uncredited)
Gwladys Jenks	....	production assistant (uncredited)
Vivienne Knight	....	publicist (uncredited)
Marjorie Mein	....	production secretary (uncredited)
Terence Morgan II	....	mask maker: monsters (uncredited)
Comer Peter	....	production assistant (uncredited)

Production Companies

• Archers, The (as A Production of The Archers)
• Independent Producers (uncredited)

Distributors

• General Film Distributors (GFD) (1948) (UK) (theatrical) (released through)
• Eagle-Lion Films (1948) (USA) (theatrical)
• J. Arthur Rank Film (1949) (West Germany) (theatrical)
• Pathé Consortium Cinéma (1949) (France) (theatrical)
• Universal Pictures (1951) (USA) (theatrical) (re-release)
• American Broadcasting Company (ABC) (1955) (USA) (TV) (first telecast) (severely edited)
• J. Arthur Rank Film Distributors (1960) (UK) (theatrical) (re-release)
• Paramount Home Video (1987) (USA) (VHS)
• Warner Home Video (1992) (UK) (VHS)
• Pickwick Video (1994) (UK) (VHS)
• Carlton Visual Entertainment (2001) (UK) (DVD)
• Criterion Collection, The (2004) (USA) (DVD)
• Epix Media (2005) (Germany) (DVD)
• Atlantic Film (2006) (Sweden) (DVD)
• Chapel Distribution (2009) (Australia) (theatrical) (re-release, new restored 35mm print)
• Park Circus (2009) (UK) (theatrical) (re-issue)
• Filmax International (2009) (Spain) (DVD)
• ITV DVD (2009) (UK) (DVD)
• Magna Pacific (2009) (Australia) (DVD)
• Filmtrade (2010) (Greece) (theatrical) (re-release)
• Homescreen (2010) (Netherlands) (DVD)
• Divisa Home Video (2011) (Spain) (DVD)
• Rank Film (????) (Netherlands) (theatrical)
• Continental Home Vídeo (????) (Brazil) (DVD)
• F.J. Lucas (????) (Brazil) (VHS)

Other Companies

• D&P Studios  made at: logo
• Royal Opera House, The  theatre (uncredited)
• Royal Philharmonic Orchestra, The  music played by (as The Royal Philharmonic Orchestra)
• Ted Heath's Kenny Baker Swing Group  music played by (as Ted Heaths Kenny Baker Swing Group)

Also Known As:

Runtime:

133 min | Japan:136 min

Country:

UK

Language:

English | French | Russian

Color:

Color (Technicolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

Australia:G | Finland:S | UK:U | Spain:T | Ireland:G | Iceland:L | South Korea:12 | Sweden:Btl | West Germany:12 | UK:U (re-issue) (1960) | UK:U (re-issue) (2009) | Portugal:M/6 | Netherlands:AL (original rating) (1948) | Singapore:PG | USA:Not Rated

Filming Locations:

Royal Opera House, Bow Street, Covent Garden, London, England, UK

Company:

Archers, The

Trivia:

Art director Hein Heckroth was a painter who had never worked as the art director on a film before. He had designed the costumes for previous Archers productions like Black Narcissus (1947). He created a 15-minute "animatic" (filmed storyboard) reel to convey the type of mood and feel his sets would give, which acted as an ideal guide for cinematographer Jack Cardiff.

Goofs:

Continuity: The length of Julian's cigarette changes dramatically (gets longer and then gets much shorter than he could smoke it down to in the short time between shots) while he's playing the piano for Vicky in Lermontov's office.

Quotes:

[first lines]
[holding doors closed]
Doorman:They're going mad, sir. It's the students.
[From outside]
Julian Craster:Down with tyrants!
Manager, Covent Garden:All right, let them in.

Movie Connections:

Referenced in Bellissima (1952)

Soundtrack:

Bougainvillia

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.