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The Tales of Hoffmann - Criterion Collection | Moira Shearer, Ludmilla Tchérina | Greatest example of opera on film
 
 


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 The Tales of Hoffm...  

The Tales of Hoffmann - Criterion Collection
Moira Shearer, Ludmilla Tchérina

Criterion Collection, 2005

average customer review:based on 39 reviews
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     highly recommended  highly recommended




A BENCHMARK FOR OPERA ON FILM

It is true that, as other reviewrs have asserted, this may not be "Tales" as Offenbach originally concieved it. A case can be made that the current 2nd act was originally intended as the final act. (where can you go after loosing and retrieving your soul?). And the english translation used in the film has some awkward phrasing - Crespel to Antonia: "Now did you not swear that that you'd not do?". This said, The film nevertheless stands as a brilliant, imaginative interpretation in its own right.

The current issue on VHS states that it restores scenes eliminated prior to its release. This is not the case. (I attended the initial release in Southern California). The restored scenes are those eliminated from the film for its application to U.S. television release - a real hatchet job to its last act. As might have been expected it had no home on American TV.

In addition to making it whole with the initial theatrical presentation color has been substantially improved as compared with the original VHS release. This makes it true to what was seen in comercial release and well worth the price of admission.

However, there are still scenes tantalizingly referenced in the video packaging which wound up on the cutting-room floor before comercial release of the film and which do not appear on the VHS video. First is Franz's aria "Day & Night I Am Always Slaving" and brief exchanges with Crespel which serve to establish his deafness (These can be heard on the London LP recording of the sound track, and a still of Massine during this aria appeared in the color program which was sold at the Premier). Second was the scene in which Nicklaus became Hoffmann's golden-gilded muse.

Should this film be released on DVD, which it certainly deserves to be, some effort should be made to find these missing pieces so the film can finally be seen as Powell & Pressburger originally intended.


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Greatest example of opera on film

I saw Tales of Hoffmann years ago at an arts center in Columbus and fell in love with it. While this film is responsible for engendering in me a great affection for opera, and while Offenbach's music is lovely, powerful and timeless, this is more about the brilliance of filmmakers Powell and Pressburger than it is about the brilliance of the composer. If you want to see a great production of the opera, watch the Kultur DVD staged at the Royal Opera House by John Schlesinger. If you want to see a glorious example of cinema that just happens to have great music, then watch this film.

The sets, costumes, acting and choreography are colorful, surreal and almost unbearably beautiful. Director Powell must have empathized with the protoganist Hoffmann's plight of lost love, because there is a romantic aching to this film that transcends music, that is entirely visual. As much as I love Offenbach, watching this film with the sound off would be almost as entertaining.

Other attempts have been made to transfer opera to film, but most of them come off as just that, filmed opera, not especially cinematic, too respectful of the music to take chances. Rarely has a filmmaker utilized the full potential of film while making a movie of an opera. Zefferelli's La Traviata and Bergman's The Magic Flute are a couple of the success stories. But this is the greatest of them all.


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Fantasy Realized

I saw this film when it was first distributed in about 1953. The sets and costumes along with the direction are of such magnitude that it could not be done in the opera house. Scintelle diamond when the villian fashions jewels from wax candles is unique. The voices are dubbed for those characters who do not sing as opera stars. Two stars of the Royal Ballet portray the villians. Leonid Massine is one and I don't remember the name of the other one. This film is a feast for the eyes and the ears.


Pure magic

I saw this movie for the first time when I was 13 - in the fifties. I believe it changed my life. A door opened to myth, dream and music that never closed - there's something so captivating about the entire production, especially for a young mind still free of pop culture, that if they don't get it out soon on DVD, a whole world of adolescent wonder may be lost!
This is the third time I've tried ordering this film, without success, but I've enough people in my camp to guarantee its arrival. I've nothing better to add to the wonderful reviews - thanks, Folks!


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An Extravaganza of Music, Color and Beauty

As a great lover of art, music and ballet, I have to say that this is my absolute favorite dance film - a true must-see, and must-own. Offenbach's music is played with great sensitivity and skill, the sets, staging and costumes are easily the finest I have seen on stage or screen, and the dancing of Moira Shearer, Leonide Massine and the cast is perfection.

It was not easy for me to locate a copy of this film, and when at last I did, I paid a hefty price. But absolutely worth it - I would have paid twice the amount without hesitation. This film takes "The Red Shoes" and its creativity to a level without precedent - it is like a dream caught on film, only more interesting. Some of the design concepts are almost inhuman in their genius. This is truly a film that must be seen to be believed.

Although I am no expert on the opera, I will say that I have a small knowledge, and great love for, the music of Jacques Offenbach. Here it is presented with wonderful precision and feeling, and the voice of Robert Rounseville is showcased to great advantage.


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reviews: 1, 2, 3, 4, page 5, 6, 7, 8



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