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Hans Christian Andersen (1952)

Approved  |   |  Biography, Family, Musical  |  14 August 1953 (France)
6.9
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Ratings: 6.9/10 from 2,421 users  
Reviews: 23 user | 15 critic

The opening scene of the movie describes it best: "Once upon a time there lived in Denmark a great storyteller named Hans Christian Andersen. This is not the story of his life, but a fairy tale about the great spinner of fairy tales."

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Title: Hans Christian Andersen (1952)

Hans Christian Andersen (1952) on IMDb 6.9/10

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Nominated for 6 Oscars. Another 4 nominations. See more awards »

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Cast

Complete credited cast:
...
...
Niels
Zizi Jeanmaire ...
Doro (as Jeanmaire The Famous French Ballerina)
Joseph Walsh ...
Peter (as Joey Walsh)
Philip Tonge ...
Otto
Erik Bruhn ...
The Hussar - Danced by
Roland Petit ...
The Prince in 'The Little Mermaid' Ballet
John Brown ...
Schoolmaster
...
Burgomaster
Jeanne Lafayette ...
Celine
Robert Malcolm ...
Stage Doorman
George Chandler ...
Farmer
Fred Kelsey ...
First Gendarme
Gil Perkins ...
Second Gendarme
Peter J. Votrian ...
Lars (as Peter Votrian)
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Storyline

A completely fabricated biography of the famous Danish fairytale writer Hans Christian Andersen featuring several of his stories and a ballet performance of "The Little Mermaid". Written by Col Needham <col@imdb.com>

Plot Summary | Plot Synopsis

Taglines:

The glorious story of the greatest storyteller of them all!


Certificate:

Approved | See all certifications »
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Details

Official Sites:

Country:

Language:

Release Date:

14 August 1953 (France)  »

Also Known As:

Hans Christian Andersen et la danseuse  »

Box Office

Budget:

$4,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Color:

(Technicolor)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

For a period of time in the 1940s to late 1950s, Hughes Tool Company ventured into the film and media industry where it then owned the RKO companies, including: RKO Pictures; RKO Studios; RKO Theatres, a chain of movie theatres; the RKO Radio Network, a network of radio stations. In 1948, multi-millionaire businessman, film producer, film director, and aviator, Howard Hughes gained control of RKO, a struggling major Hollywood studio, by acquiring 25 percent of the outstanding stock from Floyd Odlum's Atlas Corporation. Universal Studios acquired the American distribution rights in 1951 of the 1948 J. Arthur Rank-Archers feature film "The Red Shoes," originally released in a small London art house movie theater in September of 1948. Hughes, so impressed with Michael Powell's dance film starring the Sadler Well's Ballet principal dancers Moira Shearer, Léonide Massine and Robert Helpmann, that Hughes wanted his own ensemble corps de ballet company. So impressed with the English Michael Powell dance film - "The Red Shoes" - Hughes just decided to buy himself a ballet-dance company, in an effort to expand the creative base of his RKO film studio acquisition. Hughes had been impressed with the success of "Les Ballets de Paris de Roland Petit." An outstanding classical dancer as a youth, Roland Petit swiftly decided on a career as a rebel against the traditionalism of the Paris Opera Ballet, and before the age of 25 had created three of his most iconic ballets, "Le Jeune Homme et La Mort," world premiere on 6/26/46, Les Ballets des Champs-Elysee, Theatre des Champs-Elysee, Paris; the Jean Cocteau ballet "Les Demoiselles de La Nuit," world premiere Theatre Marigry, Paris 5/21/48, Les Ballet de Paris de Roland Petit, featuring Margot Fonteyn; and the ballet "Carmen," world premiere in London, Prince's Theatre, on 2/21/49, with the sultry young Jeanmaire as the lethal female destroying a hapless male. These ballets caused a sensation worldwide and Petit and Jeanmaire swiftly became the most exciting names in French dance, closely associating with Jean Cocteau, Edith Piaf, Yves Montand and the new intellectuals of Left Bank Paris. Hughes contracted Roland Petit, his Parisian based "Ballet de Paris de Roland Petit" for film assignments, including all personal appearances in North America. Roland Petit and his core dance company's flight from Paris to Los Angeles' airport was on Hughes' owned Trans-World-Airlines (TWA). Howard Hughes acquired control of TWA in 1939, and after World War II led the expansion of the airline to serve Europe, the Middle East and Asia, making TWA a second unofficial flag carrier of the United States after Pan Am. The dance troupe, housed in a Culver City hotel, were assigned a film stage for intense preparatory work-outs and dance rehearsals. After six months of isolation in Culver City, the dance troupe's enthusiasm for their new North American venture had dwindled, with their intense serious practicing, rehearsing, exercising and with no stage nor film scheduled assignments, the core of dancers became extremely mutinous. In mass, the Parisian rebels packed their luggage arriving at the TWA Los Angeles air terminal, with their round trip tickets in hand, checking-in for their return flight to Paris. The troupe of Francophiles did not know that their boss Howard Hughes owned TWA. The TWA passenger agents alerted Hughes that a horde of 'French gypsies' were at the TWA air terminal, demanding a return flight to Paris with their original TWA round trip flight tickets in hand. RKO's studio security division immediately descended upon the air terminal with a fleet of bus' to round up Hughes' herd of cattle, "the RKO - Ballet de Paris de Roland Petit" dance company, confiscating all of the ticket bills the TWA ticketing agents had collected. Returning to their hotel, the dance troupe were assured that they would be put to work on a Hollywood musical film. Samuel Goldwyn, his production company located at RKO's "The Lot," 1041 North Formosa Avenue, in Hollywood, was in pre-production to star Danny Kaye in an original musical film based on Hans Christian Anderson, with a story by Myles Connolly, a screenplay by Moss Hart and Ben Hecht, with words and original music composed by Frank Loesser. Samuel Goldwyn had initially offered the film's ballerina role to Moira Shearer. Since producer Samuel Goldwyn was under an RKO contract, Hughes ordered Goldwyn to use Roland Petit, Zizi Jeanmaire and Petit's Ballet de Paris dance troupe. Roland Petit insisted on his French stage production scenic and costume designer Antoni Clavé be flown to Hollywood as his film design collaborator. RKO costume designer Mary Wills joined the art department; Barbara "Madam" Karinska was brought from New York City to supervise and construct all of the film's ballet and principle's costumes. Art director Richard Day, another RKO film designer, collaborated with Antoni Clavé on all of the feature film's stage and ballet sets. Petit insisted hiring Danish danseur noble Erik Bruhn, one of the greatest premier male dancers of the 20th-century, noted for his outstanding classical technique, immense stage presence. Erik epitomized the ethereally handsome prince and cavalier on the international ballet stage. The film's director Charles Vidor was cursed with Roland Petit's creative driving force, stimulus, momentum, Petit contributing in every scene and camera set-up. Roland Petit was the impetus for the movie's visual magic. See more »

Goofs

In the 'Thumbelina' scene where Hans licks his right thumb and presses it against is left thumb to make a 'playmate' for Thumbelina, the faces are not mirror opposites. In fact, the 'new playmate' has a nose and a big smile that Thumbelina lacks. See more »

Quotes

Peter: Hans has gone to Copenhagen!
See more »

Crazy Credits

Opening credits: "Once upon a time there lived in Denmark a great storyteller named Hans Christian Andersen. This is not the story of his life, but a fairy tale about this great spinner of fairy tales." See more »


Soundtracks

Ice Skating Ballet
(uncredited)
from the overture to "Rosamunde"
Music by Franz Schubert
Danced by Zizi Jeanmaire, Erik Bruhn, and dancers
See more »

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User Reviews

More than just a film
30 June 2002 | by (UK) – See all my reviews

You could describe this as a childrens film but it's rather more of a family/young at heart type of story. These days it just doesn't really appeal to the age range that flocked to see it when it was released back in 1952, but if you have a good understanding of fables and fairy stories you will appreciate this little gem. First off it clearly states at the beginning of the film it's not a biography of Anderson but rather just a made up story, much in the style Anderson would have wrote himself. Hans was very much one of those village idiots/dreamers in his native Denmark and here he is portrayed as the childish adult who lets kids skive off school and teach them stories and songs which actually have a lot more impact on children than just sitting in a classroom reading books. And he's right, all of the stories he wrote had morals. However the stern mature townsfolk don't see things his way and go about throwing the guy out of their precious village to stop him corrupting the young minds with these 'childish' meanderings. Hans and his good friend young Peter take a trip to Copanhagen (or Copen-ha-gen as they seem to like calling) and there we see the masters inspiration and imagination go wild. He falls for a beautiful French ballerina, who he suspects her husband is beating her, a very adult topic to delve into, he gets into trouble with the law and ends up doing freelance work for the Ballerina - fixing her shoes. he reads all the signals wrong and falls for her unaware that for him fact and fantasy are overlapping. Peter seems to be the more mature of the two and eventually gets tired of warning Hans about building his hopes and getting obsessed about things he can never have. Skip to the end... Han's realises that there is more to life than day-dreams and clocks and flowers and returns to his village, slightly deflated but more wordly wiser and lives happily ever after.

There's a very good moral to the story but it's one you can't really explain, you have to watch it and see for yourself. Your dreams are china in your hands. Danny Kaye is fabulous as Hans he always brings with him that symapathetic, boish quality and the ballet sequences are stunning for their time. The characters are basic but are very important to the way the film evolves. Inaccurate and very outdated but beautifully told and well acted.


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