The Tales Of Hoffmann

At long last, the definite version of Powell & Pressburger’s immortal classic The Tales Of Hoffmann is released gloriously restored and with previously missing scenes put back into the film. Jacques Offenbach popular opera, based on the well-known stories by E.T.A. Hoffmann, is a visual rollercoaster ride featuring splendidly choreographed dance sequences, costumes and set designs throughout.

In the framework story or prologue, student Hoffmann (Robert Rounseville) is smitten by prima ballerina Stella (Moira Shearer) and watches her performance as the Enchanted Dragonfly on stage. Stella has a note for him that reads “I love thee, Hoffmann’ but the note is discovered backstage and intercepted by his rival Councillor Lindorf (Robert Helpmann). After not having received her note, Hoffmann leaves the theatre disappointed during the interval and trots to Nürnberg’s Luther Tavern. Over several mugs of beer and before relating three key stories of the film he sings the legend of Kleinzach (Frederick Ashton) the Clown. The scene already gives us a taster of the magic to come when the characters he sings about, represented on the beer mugs, come to life. Afterwards, Hoffmann sits down at the table feeling sorry for himself as he has little luck in matters of the heart.
As he begins to drink ever more he relates the first tale of a romance gone wrong, this being the Parisian tale of Olympia (Moira Shearer), an automaton created by magic spectacle maker Coppélius (Robert Helpmann) and scientist Spalanzani (Léonide Massine). This first tale is particularly inventive, vividly colourful and playful, with Coppélius pulling the strings as the puppet master and whose glorious marionettes represent the characters within the scenario. Brilliantly danced by Shearer and the film’s choreographer, the legendary Frederick Ashton (here in the part of Cochenille) the duet is one of the film’s highlights. Our incurably romantic hero Hoffmann cannot help but to fall head over heels in love with Olympia, not realising she is a life-size puppet. Sadly, this is a romance destined to fall to pieces, and literally so!

As for failed romance number 2, this is the tale of Giulietta (Ludmilla Tchérina) the courtesan, and off we go to Venice in a gondola. Disaster lurks on the canals when our Hoffmann, la don e mobile, falls for the duplicitous lady in question but rather than stealing his heart she steals his reflection for the manipulative magician Dapertutto (Robert Helpmann). Due to Dapertutto’s evil machinations things are destined to go wrong yet again. Dominated by sensual red hues, the setting depicts a Venice rife with sin where Giulietta sings the opera’s most famous song, the ‘Barcarolle’.

The third and final tale is the most melancholic of them all, concerning terminally ill soprano Antonia (Ann Ayars) suffering from consumption. Dipped in sombre blue and brown shades to emphasize the gloominess of the situation, we see Hoffmann in love once again. The weakened Antonia is forbidden to sing due to her illness, but the evil Dr. Miracle (yes, Robert Helpmann again) is at hand to make things worse and which results in her untimely demise – leaving Hoffmann and Antonia’s father Crespel (Mogens Wieth) heartbroken and bereft. The Tale of Antonia is also the longest of the three and features some stunning trickery, like when a multitude of Dr. Miracle’s Paganinis swirling as they fiddle.
The tales conclude when Robert Helpmann reveals his various character disguises to be Hoffmann’s perennial rival Councillor Lindorf, and the three female characters all symbolise prima ballerina Stella!
As the curtain draws, we are back in the tavern where Lindorf arrives with Stella, only to be confronted by a much-inebriated Hoffmann slumped over the table.

The closing credits are seen through a magnified version of the magic spectacles where the actors/dancers take their curtain calls on one side and the singers who voice them on the other, with the exception of Ann Ayars and Robert Rounseville who both acted AND sang their respective parts.

Moira Shearer was one the leading lights of the Covent Garden Ballet at the time and is indeed enchanting! Robert Helpmann is truly hypnotic with his gallery of villains, and Lèonide Massine makes for a subtle and worthy counterpart.
Last but least, Metropolitan Opera star Robert Rounseville provides us with a sterling performance in the title role!

Part of StudioCanal’s Vintage Classic Collection – showcasing iconic British films, all fully restored and featuring brand new extra content, further information can be found on the Facebook page, facebook/vintageclassicsfilm - THE TALES OF HOFFMANN is a visual and sonic masterpiece that stands the test of time. A critical darling that won the 1951 Special Award® at the 1951 Cannes Film Festival, this is a film you wish to see over and over again!

Extras on the DVD and Blu-ray release are:

* Introduction from Martin Scorsese
* Interview with Thelma Schoonmaker
* Trailer
* Stills gallery