Michael Powell and Emeric Pressburger, UK 1948
Print source: George Eastman Museum, Rochester, NY
Running time: 134 minutes
About the print
This presentation includes two nitrate prints. The museum’s own print provides most of the running time; to make up for sound problems, however, the last two reels are courtesy of Martin Scorsese’s collection held at the museum. Although those two reels are more scratched and slightly more shrunken, the Technicolor remains vibrant throughout. Shrinkage: varies, 0.75–0.95%
About the film
“It is not a film with a stage ballet included only because ballet happens to have a large following. If you want to see stage ballet you must still go to the theatre. But this is not stage ballet at all—it is ballet written for or translated for filming. And that is a very different pair of shoes altogether. . . . Now for the first time, ballet has been planned as though through the camera lens, and it could not be produced in any other way than by film.”
– Maurice Ambler, Ballet Today, January 1948
“This is the poetry of motion beautifully and skillfully photographed. There is one scene where the ballerina dances with a torn sheet of newspaper that comes to life, which is a miracle of ingenuity as well as lovely to watch. There is a story, slight but enough to hold your attention, while hoping that the inevitable tragedy of the ending may be averted.”
– Picture Show, August 1948
“This uncommonly beautiful film is one that you certainly should not miss, even if you are one of those who say ‘Ballet bores me.’ The Archers, always enterprising, once again have broken new ground. There have been pictures with ballet in them before, but never one that captured so completely the spirit of the thing. . . . All the cosmopolitan, colourful intensity, confusion, concentration, temperament, and creative fervour are there. You see a new ballet take shape out of chaos, and as you do so you learn something of the spirit of the people whose life is ballet.”
– Picturegoer, August 28, 1948