The Red Shoes The Criterion Collection Us Import

Summary Details: The red shoes, the singular fantasia from michael powell and emeric pressburger, is cinema’s quintessential backstage drama, as well as one of the most glorious technicolor feasts ever concocted for the screen'. '.strtoupper('m')oira shearer is a rising ...
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The red shoes, the singular fantasia from michael powell and emeric pressburger, is cinema’s quintessential backstage drama, as well as one of the most glorious technicolor feasts ever concocted for the screen'. '.strtoupper('m')oira shearer is a rising star ballerina torn between an idealistic composer and a ruthless impresario intent on perfection'. '.strtoupper('f')eaturing outstanding performances, blazingly beautiful cinematography by jack cardiff, oscar winning sets and music, and an unforgettable, hallucinatory central dance sequence, this beloved classic, dazzlingly restored, stands as an enthralling tribute to the life of the artist.in the blu ray edition high definition digital transfer from the 2009 restoration, with uncompressed monaural soundtrack on the blu rayrestoration demonstration featuring filmmaker martin scorseseaudio commentary from 1994 by film historian ian christie, featuring interviews with actors marius goring and moira shearer, cinematographer jack cardiff, composer brian easdale, and scorsesea profile of “the red shoes,” a 2000 documentary on the making of the film, featuring interviews with members of the production teaminterview with director michael powell’s widow, editor thelma schoonmaker powell, from the 2009 cannes film festivalaudio recordings of actor jeremy irons reading excerpts from powell and screenwriter emeric pressburger’s novelization of the red shoes and the hans christian andersen fairy tale “the red shoes”publicity stills and behind the scenes photosgallery of memorabilia from scorsese’s collectionthe “red shoes” sketches, a 1948 animated film of hein heckroth’s painted storyboards, with the red shoes ballet as an alternate angletrailerplus an essay by critic david ehrenstein and a description of the restoration by ucla film archivist robert gitt

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