Hans Christian Andersen (1805-75) was an Gross Duckling. He lived in the third largest town Odense, in Denmark. The son of a cobbler he was poverty ridden and a failure as an actor and it wasn’t until he moved to Copenhagen and won the patronage of Frederick VI, through his poetry, that he wrote his fairy tales and developed into a swan. Like many artists he wasn’t particularly ecstatic, and never did marry, although he was very fond of Jenny Lind (1820-87) the Swedish Nightingale a soprano given the name by P.T. Barnum during her tour of the United States between 1850-52.) Charles Vidor’s film does plot at the beginning, This is not the legend of Hans Christian Andersen but a fairy memoir about the large spinner of fairy tales. The Danes objected to the draw Hans Christian Andersen was portrayed even though Goldwyn had rejected 21 previous manuscripts, so the film company inserted this statement in the credits.
Danny Kaye with his chiselled features does resemble H.C.Andersen when looking at his profile, but apart from this facial feature that’s where it stops. Kaye had sunless hair but Hollywood soon changed that and he became a blonde, Andersen also had shaded hair but he kept it that draw.
Unlike some earlier musicals, this film does have a strong memoir line with loads of songs written by “Baby, It’s Chilly Outside”, Frank Loessen, such as Thumbelina, Terrifying Duckling, No Two People, and of course Improbable Copenhagen. The scenery is very clever, the backgrounds stare like illustrations from fairy story books, but as the camera zooms in to the foreground the buildings and props become three dimensional similar to a pop-up-book.
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There are four ballet scenes that I probably found dead encourage in `52, but revisiting them now, they are visually very involving, technically I wouldn’t know if they are suited or mediocre but for a Hollywood musical film, four ballets must of taken an expansive amount of consideration seeing as the film is really for kids. Once again the backdrops for the ballets also resemble fairy legend illustrations and pop-up-books.
Instead of a soprano, Andersen falls in appreciate with a ballet dancer and here’s a musical that doesn’t have a very elated ending because abominable Hans gets mixed up with a married woman. The ballet dancer Doro, is played by Zizi Jeanmaire, and is married to Niels played by Farley Granger. During the last share of the film, the audience is taken late the scenes of the ballet company playing at the Royal Theater in Copenhagen, but this isn’t a film of a demonstrate included in a point to, similar to earlier musicals, but an uplifting musical film with lots of music with catchy tunes helped by a ton of children.
The last ballet scene takes 17 minutes, quite long for a accepted movie. In the film Hans writes a fable especially for his admire Doro, unfortunately Niels locks him in a cupboard so Andersen never sees her do but has to exhaust his imagination.
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The ballet takes dwelling on land and under the ocean. The surface waves are pop-up so that the dancers can be seen dancing in between the swells, it’s really very clever visually, and there’s no trickery here. Under the sea filled with monsters and witches, the heroine is probably attached to a pulley so that she can be seen swimming for the surface. There are no blue screens in this film, all effects are up-front and work perfectly similar to a staged ballet. Once again the technicolor process is veteran and this enhances the fairy fable carry out with incandescent colors.
Hans Christian Andersen fairy stories are not violent when compared to the Grimm brothers, but the themes usually have a lesson, and in the record written for Doro’s ballet, “The Tiny Mermaid,” it is saying that aiming for the stars does not always bring happiness, but then of course Walt Disney hadn’t yet arrived on the scene and he soon changed that philosophy.
With all due respect, Leonard Maltin unbiased doesn’t secure it with regard to this movie, and I loathe to consider his negative comments might prevent someone from seeing it. This was one of the most memorable movies from my childhood — and I can only have seen it twice at the most, because there were no videos in those days. We had the soundtrack album and those magnificent and, yes, melodic, songs burned themselves into my consciousness. I could not wait until my daughter was obsolete enough to allotment this movie with, and now that we are watching it together (she is three), it is a joy to behold her, too, answer to the magic and music of Danny Kaye’s charming performance. For the past three months it has been her most requested video, and when we aren’t watching it, she wants me to convey the songs, and when I can’t do that, she sings them herself! And now that she is familiar with the musical versions of the fairy tales, she wants them read to her, and is thereby learning to listen to grand longer and more complex stories than before.
This really is a special movie. No, it’s not an moral portrayal of Anderson’s life, and it doesn’t pretend to be. In fact it says legal there in the opening frame, “This is not the narrative of his life, but rather a fairy myth about this spinner of fairy tales.” And yes, the dwelling is a minute limp. So as a movie it only gets four stars, not five. But it doesn’t matter. There is so grand charm and magic and astounding music here, that the experience of watching it, even over and over again, is a five-star experience that makes for lifelong memories.
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