This February, I’ve been watching (or rewatching) films about, or involving, dance, and exploring the relationships those films have with each other. I am ashamed to say it was only in preparation for this series that I finally watched The Red Shoes (1948) in its entirety (though in my defense, I did watch the first half in college, but it was during finals week and I never got a chance to finish it!). Moira Shearer plays Victoria Page (Vicky), a dancer torn between her ambition in the arts and her feelings for a composer, Julian Craster.
Today’s blog post came about because as I was watching this movie, I found myself comparing Vicky to Gene’s character, Jerry Mulligan, in An American in Paris (1951). Both these characters truly love their craft, but they’re also deeply in love with their significant other as well. It left me pondering the question Vicky and Jerry face themselves with: Is art itself fulfilling enough to be its own muse?
(Speaking of, you can read about An American in Paris and the revival of Gene Kelly’s ballet Pas de Dieux here)
In An American in Paris, Jerry is a painter who becomes inspired by a local French girl, Lise. Near the end of the film, he nearly loses her to another man, and as he begins to accept this, his desire to paint disappears with her. For him, the motivation to paint in itself is no longer enough—his ability to create art is dependent on his muse being present. The absence of Lise even changes his perception of the city, which is what he was originally in love with and inspired by. For Jerry, his craft and his muse are intertwined—he can’t have one without the other.
Vicky, however, is in a position where her ambition to be a dancer, and her desire to pursue Julian, seem to be two completely different entities—ironic, considering that Julian is a composer.
Woven throughout the film, and Vicky’s internal conflict, is the “rivalry” between music and dance. (We see that set up very early, as the ballet enthusiasts and the music students banter in the theatre before the Ballet Lermentov’s/Professor Palmer’s performance.) Vicky must choose between two ways of life: One is her life of dance, and the other is her life with Julian.
When I turned 12 years old, my parents got tickets for me and my sister to see Giselle at our local theatre. About halfway to the theatre, I casually mentioned I didn’t have my hearing aids. “It’s mostly a dancing show anyways,” I said. “It doesn’t matter if I can hear.” But my parents insisted that we turn around and get my hearing aids. Sitting and listening to the orchestra made me realize the importance of those two key ingredients working together to evoke the proper emotions. I would not have appreciated the dancing nearly as much if I hadn't been able to hear the music.
In perhaps an abstract way, both Vicky and Jerry come to the realization that the pursuit of various art forms, like those of ambition and love, are not meant to be pitted against one another; but rather, to work in harmony.
What do you think? Can you be good at what you do, while still having a life (and a love) outside of that ambition?
An American in Paris is available via various streaming services. Click here for DVD subtitle information.
The Red Shoes is available with an Amazon Prime subscription, and is free (no subscription required) via Tubi, Sling TV, The Roku Channel, and Plex. English subtitles are available for each of these options.
Fun Facts and a Note!
Moira Shearer was Vincente Minelli’s second choice for the female lead in Brigadoon (1954). The movie was originally going to star Kathryn Grayson, but when Gene Kelly was cast as the male lead, the film became more centered on dance instead of music. Shearer was set to replace Grayson, but her ballet company wouldn’t allow her to take time off to make the movie. Cyd Charisse ended up playing the role of Fiona Campbell.
When Gene Kelly was trying to persuade MGM to back An American in Paris, he showed studio executives the ballet from The Red Shoes to convince them.
There were so many movies that The Red Shoes seems to have inspired. As you watch, keep an eye out for shots that appear very similar to musicals like The Band Wagon, The Barkleys of Broadway, and, of course, An American in Paris.
Have you seen The Red Shoes? Did you catch any moments that remind you of other old musicals?
Sources:
Griffin, M. (2010). A hundred or more hidden things: The life and films of Vincente Minnelli. Da Capo Press.
Lloyd, A. (2009). The Red Shoes. In 501 Must-See Movies. essay, Bounty Books.
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