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The Tales of Hoffmann | |
---|---|
Directed by | Michael Powell Emeric Pressburger |
Written by | E. T. A. Hoffmann (stories) Jules Barbier (opera libretto) Michael Powell Emeric Pressburger Dennis Arundell |
Produced by | Michael Powell Emeric Pressburger |
Starring | Moira Shearer Robert Helpmann Léonide Massine Robert Rounseville Pamela Brown Ludmilla Tchérina Ann Ayars |
Cinematography | Christopher Challis |
Edited by | Reginald Mills |
Music by | Jacques Offenbach |
Production company | |
Distributed by | British Lion Films |
Release dates |
|
Running time | 128 minutes 136 minutes (2015 re-release) |
Country | United Kingdom |
Language | English |
Box office | £105,035 (UK rentals) [1] $1.25 million (US rentals) [2] |
The Tales of Hoffmann is a 1951 British Technicolor comic opera film written, produced and directed by the team of Michael Powell and Emeric Pressburger working under the umbrella of their production company The Archers. It is an adaptation of Jacques Offenbach's 1881 opera The Tales of Hoffmann , itself based on three short stories by E. T. A. Hoffmann.
The film stars Robert Rounseville, Moira Shearer, Robert Helpmann and Léonide Massine and features Pamela Brown, Ludmilla Tchérina and Ann Ayars. Only Rounseville and Ayars sang their own roles.
The film's soundtrack consists of music conducted by Sir Thomas Beecham and played by the Royal Philharmonic Orchestra. In addition to Rounseville and Ayars, singers included Dorothy Bond, Margherita Grandi, Monica Sinclair and Bruce Dargavel. The film's production team included cinematographer Christopher Challis and production and costume designer Hein Heckroth, who was nominated for two 1952 Academy Awards for his work.
Though the original French libretto is presented in an English translation, the film is relatively faithful to the traditional adaptations of Offenbach's last opera and incorporates his unfinished score with the thread of the plot. However, certain important changes were made in the process of adapting the story to film:
Role | Actor | Singer |
---|---|---|
Hoffmann | Robert Rounseville | |
Stella/Beauty/Olympia | Moira Shearer | Dorothy Bond (Olympia) |
Antonia | Ann Ayars | |
Giulietta | Ludmilla Tchérina | Margherita Grandi |
Lindorf/Coppélius/Dapertutto/Dr Miracle | Robert Helpmann | Bruce Dargavel |
Nicklaus | Pamela Brown | Monica Sinclair |
Schlemil | Léonide Massine | Owen Brannigan |
Spalanzani/Franz | Grahame Clifford | |
Kleinsach/Cochenille | Frederick Ashton | Murray Dickie |
Crespel | Mogens Wieth | Owen Brannigan |
Pitichinaccio | Lionel Harris | René Soames |
Luther | Meinhart Maur | Fisher Morgan |
Stella's partner in Dragonfly ballet | Edmond Audran | |
Andreas | Philip Leaver | |
Nathaniel | John Ford (uncredited) | |
Hermann | Richard Golding (uncredited) | Owen Brannigan |
Antonia's Mother | Joan Alexander | |
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In the later years of his partnership with Pressburger, Powell became interested in what he termed "a composed film", a marriage of image to operatic music. [3] The finale of Black Narcissus and the ballet sequence of The Red Shoes were earlier steps toward his goal.
The Tales of Hoffmann is an achievement of this ideal, as the entire opera was prerecorded to create the soundtrack [3] and the film was edited to the rhythms of the music. The production is completely without dialogue and, with the exception of Robert Rounseville and Ann Ayars, none of the actors did their own singing. [3] Some of the singers had established careers in Britain at the time. Grahame Clifford, for example, had been a leading comedian with the D'Oyly Carte Opera Company for several years, and Monica Sinclair was fast becoming an audience favourite at Covent Garden; she would later become one of the company's most popular artists of the next two decades. The acting (especially by Helpmann) is highly stylised and similar to that of the silent-film era.
Each tale is marked by a primary colour denoting its theme. "The Tale of Olympia", set in Paris, has yellow contours highlighting the farcical nature and tone of the first act. "The Tale of Giulietta" is a hellish depiction of Venice, where dark colours, especially red, are used. The final tale, set in Greece, uses different shades of blue, alluding to its sad nature. The set design is deliberately made to look artificial with the costumes similarly stylised. The opening scene of the "Tale of Giulietta" (in which Giulietta performs the "Barcarolle", the most famous theme of the opera) is staged on a gondola that moves through deliberately artificial Venetian canals, although it does not seem to actually move on the water.
The Tales of Hoffmann was in production from 1 to 16 July 1950 at Shepperton Studios in Shepperton, Surrey, UK.
Following the film's world premiere in New York City, Bosley Crowther of The New York Times wrote:
[D]espite its opulence, coupled with a brilliant rendering of the score by the Royal Philharmonic Orchestra under Sir Thomas Beecham's bristling baton and some masterly singing of the libretto (in English) by a host of vocal cords, this film version of the opera is, in toto, a vastly wearying show. And that is because it sates the senses without striking any real dramatic fire ... The inevitable question about this picture is how close does it come to matching the beauty and excitement of the same producers [ sic ] The Red Shoes ? Although the two films are basically different, a comparison is fair to this extent: The Red Shoes had warmth and vitality, Tales of Hoffmann is splendid and cold. [4]
Reportedly, Cecil B. DeMille sent a letter to Powell and Pressburger saying: "For the first time in my life, I was treated to Grand Opera where the beauty, power and scope of the music was equally matched by the visual presentation." [5]
For the 2002 Sight and Sound poll, George A. Romero called it his "favourite film of all time; the movie that made me want to make movies." [6] Three years earlier, Romero had introduced the film as part of the "Dialogues: Talking with Pictures" programme at the 1999 Toronto International Film Festival. [7] Romero later taped an interview for the Criterion Collection edition, discussing his love of the film and its influence on his career. Martin Scorsese, an ardent fan of Powell and Pressburger, provides an audio commentary track on the Criterion edition. [8]
In a book on the British cinema, André Bazin is quoted as saying:
The cinema thus creates here a new artistic monster: the best legs adorned by the best voice. Not only is opera liberated from its material constraints but also from its human limitations. Lastly, dance itself is renewed by the photography and the editing, which allows a kind of choreography of the second degree where the rhythm of the dance is served by that of the cinema. [9]
At the 24th Academy Awards, The Tales of Hoffmann received two nominations, both for Hein Heckroth, for Best Art Direction-Set Decoration, Color and Best Costume Design, Color; the awards in both cases went to the crew of An American in Paris .
Powell and Pressburger were nominated for the Grand Prize of the 1951 Cannes Film Festival and won the Exceptional Prize. [10] They also won the Silver Bear award for best musical at the 1st Berlin International Film Festival. [11] [12]
The soundtrack was recorded at Shepperton Studios between May and September 1950, conducted by Sir Thomas Beecham. Decca obtained permission from London Films to release the soundtrack album. In response, Beecham sued, as he had not approved the release because the soundtrack did not truly represent his interpretation of the opera because of the changes made for the film. On 20 March 1951, he failed to obtain a high court injunction to prevent the release but received assurances that the album would be clearly labelled as having been taken from the soundtrack. [13]
In March 2015, the 4K restoration of the film, produced by Martin Scorsese's The Film Foundation, the British Film Institute and Studiocanal, was released in the U.S. by Rialto Pictures. The restored version runs 136 minutes, including a final -credits sequence of all the performers and singers not seen in any previous releases. [14]
The Red Shoes is a 1948 British drama film written, produced and directed by Michael Powell and Emeric Pressburger. It follows Victoria Page, an aspiring ballerina who joins the world-renowned Ballet Lermontov, owned and operated by Boris Lermontov, who tests her dedication to the ballet by making her choose between her career and her romance with composer Julian Craster.
Michael Latham Powell was an English filmmaker, celebrated for his partnership with Emeric Pressburger. Through their production company The Archers, they together wrote, produced and directed a series of classic British films, notably The Life and Death of Colonel Blimp (1943), A Canterbury Tale (1944), I Know Where I'm Going! (1945), A Matter of Life and Death, Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951).
Emeric Pressburger was a Hungarian-British screenwriter, film director, and producer. He is best known for his series of film collaborations with Michael Powell, in a collaboration partnership known as the Archers, and produced a series of films, including 49th Parallel (1941), The Life and Death of Colonel Blimp (1943), A Matter of Life and Death, Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951).
The Tales of Hoffmann is an opéra fantastique by Jacques Offenbach. The French libretto was written by Jules Barbier, based on three short stories by E. T. A. Hoffmann, who is the protagonist of the story. It was Offenbach's final work; he died in October 1880, four months before the premiere.
The British film-making partnership of Michael Powell (1905–1990) and Emeric Pressburger (1902–1988)—together often known as The Archers, the name of their production company—made a series of influential films in the 1940s and 1950s. Their collaborations—24 films between 1939 and 1972—were mainly derived from original stories by Pressburger with the script written by both Pressburger and Powell. Powell did most of the directing while Pressburger did most of the work of the producer and also assisted with the editing, especially the way the music was used. Unusually, the pair shared a writer-director-producer credit for most of their films. The best-known of these are The Life and Death of Colonel Blimp (1943), A Canterbury Tale (1944), I Know Where I'm Going! (1945), A Matter of Life and Death (1946), Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951).
The Small Back Room is a 1949 film by the British producer-writer-director team of Michael Powell and Emeric Pressburger starring David Farrar and Kathleen Byron and featuring Jack Hawkins and Cyril Cusack. It was based on the 1943 novel of the same name by Nigel Balchin.
Oh... Rosalinda!! is a 1955 British musical comedy film by the British director-writer team of Michael Powell and Emeric Pressburger. The film stars Michael Redgrave, Mel Ferrer, Anthony Quayle, Ludmilla Tchérina and Anton Walbrook and features Anneliese Rothenberger and Dennis Price.
Hein Heckroth was a German painter and art director of stage and film productions.
Robert Rounseville was an American actor and tenor, who appeared in opera, operetta, Broadway musicals, and motion pictures.
Richard Jones CBE is a British theatre and opera director. He was born in London, and studied at the University of Hull and University of London. After working as a jazz musician, he spent 1982–83 on a bursary working with Scottish Opera and the Citizens Theatre.
The 4th Cannes Film Festival was held from 3 to 20 April 1951. The previous year, no festival had been held because of financial reasons. In 1951, the festival took place in April instead of September to avoid direct competition with the Venice Film Festival.
Herzog Blaubarts Burg (1963) is a film of the opera Bluebeard's Castle by the Hungarian composer Béla Bartók, written in 1911 to a symbolist libretto by the poet and later film theorist Béla Balázs. The film was made for West German television, Süddeutscher Rundfunk, and was produced by Norman Foster, who also performs the lead role. The designer was Hein Heckroth who brought in his old friend Michael Powell, for whom he had designed a number of films, to direct it. The film, which was shot at Dürer Film Ateliers in Salzburg, Austria, was out of circulation for decades because of legal problems.
Tales of Hoffmann is a 1916 silent German drama film directed by Richard Oswald. An incomplete print is held in the collection of the Friedrich Wilhelm Murnau Foundation.
Hibla Leverasovna Gerzmava is an Abkhazian-Russian operatic soprano who currently resides in Moscow.
Monica Sinclair was a British operatic contralto, who sang many roles with the Royal Opera, Covent Garden during the 1950s and 1960s, and appeared on stage and in recordings with Dame Joan Sutherland, Luciano Pavarotti, Maria Callas, Sir Thomas Beecham, Sir Malcolm Sargent and many others. She had a great gift for comedy, and sang in recordings of many of the Gilbert and Sullivan operettas, as well as in recordings from the standard operatic repertory.
Dennis Drew Arundell OBE was a British actor, librettist, opera scholar, translator, producer, director, conductor and composer of incidental music.
Ivor William Gilmour Beddoes was a British matte painter, sketch and storyboard artist, costume and set designer, painter, dancer, composer and poet. He is best known for his film work, spanning more than thirty years, from Black Narcissus and The Red Shoes to Star Wars and Superman.
Dorothy Irene Bond, known professionally as Dorothy Bond, was an English coloratura soprano whose star shone brightly but briefly. She was noted for the purity of her tone and the accuracy of her intonation. She became a favourite singer of Sir Thomas Beecham's, recording the voice of Olympia for the Powell and Pressburger film of Offenbach's The Tales of Hoffmann in 1950. She also recorded Delius's A Village Romeo and Juliet under Beecham, and Ernest Bloch's Sacred Service under the composer. She was killed in a road accident aged 31.
Ann Ayars was an American soprano and actress. Early in her career she acted in several TV series and non musical films. Later, she sang with the New York City Opera (NYCO), and became known worldwide when she sang and acted the part of Antonia in the 1951 British film The Tales of Hoffmann. From 1968 to 1987 she taught voice and piano and staged 19 full-length opera productions at Mt. San Jacinto College in California, where she was made a professor emerita.
Melitta Muszely was an Austrian operatic soprano and a voice teacher. She made a career based in Germany, mainly at the Hamburg State Opera with guest contracts to the Komische Oper Berlin and the Vienna State Opera, among others. She took part in world premieres, and performed internationally in Europe. She appeared as all four female characters in Offenbach's Hoffmanns Erzählungen in the legendary 1958 production by Walter Felsenstein, and sang recitals until 2008.