Another excellent short film by Chuck Jones, What’s Opera, Doc? is a Bugs Bunny/Elmer Fudd version of several of Richard Wagner’s great operas, especially Der Ring des Nibelungen (check out our classical music knowledge, people!).
It has the added benefit of featuring the most fabulous horse in cinematic history
As it’s a seven minutes animated short, it’s hard to say anything deep and profound about it (you know, because we’re usually known for our incredibly analytical and intellectual approach to film reviews). However, lucky for you, you can watch the whole thing here and make up your own mind. Enjoy!
Victoria Page (Shearer) is a young, ambitious ballet dancer who, after a party, is invited by ballet impresario Boris Lermontov (Walbrook) to try out for his company. At the same time, young composer Julian Craster (Goring) gets a job with the same company coaching the orchestra. As Vicky rises to be the new prima ballerina (after the old one got married), Julian also rises through the ranks as a composer. The culmination of both their work is a new ballet, The Red Shoes, based on H. C. Andersen’s classic fairy tale. Julian composes while Vicky dances the lead.
While the others work, Lermontov does his very best impression of a creepy old man
The ballet is a great success, and its two rising stars fall in love, something Lermontov is none too happy about. He fires Julian, and Vicky, though torn, decides to go with her boyfriend. She marries him and he starts composing operas, also to great success. However, despite her meteoric rise to fame in Lermontov’s ballet, Vicky spends the following year out of work.
We strongly suspect Julian didn’t like other men’s hands this close to his wife’s hoo-ha..
Next season, Vicky goes back to Monte Carlo on holiday with her aristocratic aunt and runs into Lermontov again. He convinces her to dance The Red Shoes once more, but on the night of the performance, Julian comes and demands his wife choose between him and the ballet. Crazed (or possessed?) by this ultimatum, Vicky loses her mind and her control, just like the protagonist in Anderson’s fairy tale.
Ah – innocence ruined by the lure of passion. It’s like the fairy tale reflects the fate of the innocent ballerina…
It’s clear that Lermontov is supposed to be some sort of parallel to the shoe maker in the fairy tale, but honestly, he’s not the devil here. He encourages her ambition – an ambition that comes from her, not any outside force. Sure, his encouragement comes from mainly selfish reasons, and he may have some ulterior motive of his own, but at least he want her to follow her passion. Julian seems to think she should be content being the wife and muse of a talented composer, despite her own obvious talent which she is unable to develop once they leave the company. In our opinion, Julian is the bad guy here.
It doesn’t help our impression that he shows up for her performance wearing something very close to a Nazi outfit and goes straight for the boobs
This film is spectacular and definitely a new favourite of ours. It’s an intriguing story with great, often eccentric, characters (we particularly love the other members of the ballet company), gorgeous costumes and breathtaking dancing. The performance of The Red Shoes – a ballet within the film – is wonderful and somewhat reminiscent of the Berkeley musicals from the ’30s, beautifully incorporating cinematic effects with amazing dancing to tell the story.
We’re quite certain that the audience cannot be replaced by an ocean in a real live performance.
It seems to us that women’s ambition is a dangerous thing (in which case Lermontov is the devil), although we’re not sure for whom. Is it scary for the men who lose control over them, or for the (fragile) women who will crack under the pressure of trying to balance a traditional role (doting wife and house maker) with a professional career? Possibly both, but it seems like women tend to pay the price – especially in morality tales and fiction (let’s not even go into the sexual undertones of this film and, indeed, the fairy tale on which it’s based).
What we learned: A happy and full life should have room for love and ambition. To have to choose is unfair (especially when it’s one gender asking the other to choose while they themselves can have it all..). Also, things haven’t changed much for ballerinas in the last 7 decades, judging from the parallels between this film and Black Swan (2010).
Is there anything left to say on the Marx Brothers? We think not, and so we will not, except to tell you to watch this one too. Boom! Shortest blog entry in 1000filmsblog history!
What we learned: we still love the Marx Brothers. Groucho is still the most quotable bastard in movie history. Chico is still our favourite pianist. Harpo is still creepily likable. Zeppo is still oddly replaceable…
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