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Live scenes of Paris and a continuity Narrator link together four dramatic choreographies, all by Roland Petit: Carmen (1949), La croqueuse de diamants (1950), Deuil en 24 heures (1953), and Cyrano de Bergerac (1959).
Three loosely connected love stories. The first story: Paula is a talented dancer who cannot truly live unless she dances. But has a heart condition, which means she cannot live if she does. The second story: Tommy despises his French tutor, and hates being a child. He wants to be an adult so he can do what he wants. He gets his wish, being transformed into a handsome young man for one evening, and learns about whole new side of his French tutor. Third story: Pierre Narval is trapeze artist who gave it up when his partner died doing a dangerous stunt at his bidding. He rescues Nina, a beautiful young woman, after she throws herself into the Seine, and convinces her to become his new aerial partner. Her husband had been killed by the Nazis during the war, and she blames herself. They fall in love, which is tested when Nina must perform the stunt which killed Pierre's former partner. Written by
John Oswalt <email@example.com>
MGM gave composer Miklós Rózsa only a week's notice to come up with a ballet for Moira Shearer. The composer said the assignment was beyond his range under the circumstances and was asked to provide an alternate piece. He selected Rachmaninoff's "Rhapsody on a Theme by Paganini." See more »
This is one of the few movies that I've watched repeatedly or when I need an attitude boost. (Others are Harold & Maude and What a Wonderful Life.) I walk away with renewed sense of empowerment, purpose and determination. In addition to that, I enjoyed: 1) the timing--the movie consists of three shorts and I appreciate the order in which the three are presented; 2) sense of humor--the second short is quite charming and I thought well written from a child's point of view--it avoids being an adult pretending to be a child; 3) long dance scenes--there must be several three minute scenes with no editing cuts (the music is so strong that whenever I hear a piece by Faure, if it's not the piece in this one scene it reminds me of it, that I must stop a few seconds because the memory is so alive); 4) the deep exploration of "what is right" --I not only appreciate the presentation of the two sides of every decision presented in all of the shorts, but also that a quick Hollywood solution is resisted; and finally 5) a young Kirk Douglas--which is the old fashioned manly-man. My only wish is that is would be shown on the big screen more often.
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