| The Tales of Hoffmann | |
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Theatrical poster |
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| Directed by | Michael Powell Emeric Pressburger |
| Produced by | Michael Powell Emeric Pressburger |
| Written by | E. T. A. Hoffmann (stories) Jules Barbier (opera libretto) Michael Powell Emeric Pressburger Dennis Arundell |
| Starring | Moira Shearer Robert Helpmann Léonide Massine |
| Music by | Jacques Offenbach |
| Cinematography | Christopher Challis |
| Editing by | Reginald Mills |
| Distributed by | British Lion Films (UK) Lopert Pictures (US) |
| Release date(s) | 4 April 1951 (NYC) 17 May (UK trade) 26 November (UK gen.) 13 June 1952 (US gen.) |
| Running time | 128 minutes |
| Country | United Kingdom |
| Language | English |
| Box office | ₤105,035 (UK)[1] |
The Tales of Hoffmann is a 1951 British film adaptation of Jacques Offenbach's opera Les contes d'Hoffmann, written, produced and directed by the team of Michael Powell and Emeric Pressburger working under the umbrella of their production company, The Archers. The film stars Moira Shearer, Robert Helpmann, and Léonide Massine, and features Robert Rounseville, Pamela Brown, Ludmilla Tchérina, and Ann Ayars. It uses a soundtrack recorded for the film conducted by Sir Thomas Beecham; principal singers are Bond, Ayars, Grandi, Rounseville, and Dargavel; the Royal Philharmonic Orchestra plays. The film's production team includes cinematographer Christopher Challis and production and costume designer Hein Heckroth, who was nominated for two 1952 Academy Awards for his work. It is not just a film of a staged opera, but a true cinematic opera that makes use of film techniques not available in an opera house.
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In a tavern in Nuremberg, the young Hoffmann (Robert Rounseville) tells three stories of past loves (played by Moira Shearer, Ludmilla Tchérina, and Ann Ayars). He recounts the stories during the interval of a ballet, which stars his new love Stella (also played by Shearer). Léonide Massine and Robert Helpmann have roles in each story.
Though the original French libretto is presented in 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 key changes were made in the process of adapting the story to film. In the prologue of the film, all of Lindorf's music is deleted, making him a silent character. Also, Stella's profession is changed from an opera singer appearing in Mozart's Don Giovanni to a ballet dancer. "The Tale of Antonia" is shortened, ending with the powerful trio for Antonia, the Ghost of her mother, and Dr. Miracle rather than Antonia's death scene. The role of Nicklausse is abridged. Footage of Pamela Brown, who in the original play is revealed to be a disguise of the Muse of Poetry, was shot but deleted.
Alexander Korda, who was often sympathetic to the duo's earlier movies, was skeptical about this film and went as far as to slash nine minutes of the original cut (which were subsequently restored). The cut scenes included portions of the Dragonfly ballet performed by Stella in the prologue under Lindorf's lustful gazes.
In the later years of their partnership, Powell became interested in what he termed "a composed film", a marriage of image to operatic music. The finale of Black Narcissus and the celebrated 'ballet' sequence of The Red Shoes were earlier forays to achieve his goal.
The Tales of Hoffmann is an achievement of this ideal, as the entire opera was pre-recorded to create the soundtrack and the movie 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. 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 favorite 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 stylized and similar to that of the silent film era.
The film is also highly regarded for its production design and cinematography. Each tale is marked by its own individual primary colour denoting its respective theme. "The Tale of Olympia", set in Paris, has yellow contours highlighting the farcical nature and tone of the first act. "The Tale of Giuletta" 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 sets similarly stylized. The opening scene of the 'Tale of Giuletta' (where Giuletta performs the "Barcarolle", the most famous theme of the opera) is staged on a gondola which 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 1–16 July 1950[2] at Shepperton Studios in Shepperton, Surrey in the U.K.[3]
The Tales of Hoffmann received two Academy Award nominations in 1952, both for Hein Heckroth, for "Best Art Direction-Set Decoration, Color" and "Best Costume Design, Color." In addition, Powell and Pressburger were nominated for the Grand Prize of the 1951 Cannes Film Festival, and won the Exceptional Prize.[6] They also won the Silver Bear award for "Best Musical" at the 1st Berlin International Film Festival.[7][8][9]
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