THE TALES OF HOFFMANN: Blu-ray (The Archers, 1953) StudioCanal

In the emeritus years of his creative partnership with Emeric Pressburger, Michael Powell became marginally obsessed with the prospect to wed moving images to operatic music. Previous ‘tests’ - the finale to Black Narcissus (1947) and the more extensively staged ballet for The Red Shoes (1948) illustrated the public’s receptiveness to stretching the boundaries of conventional storytelling, and had even influenced Hollywood musicals like the Oscar-winning An American in Paris (1950) in the interim. Hence, The Tales of Hoffmann became Powell’s realization of that dream, an entire opera pre-recorded to create a soundtrack, the entire movie to be edited around its rhythms. No dialogue – period.  Interestingly, only Robert Rounseville and Ann Ayars did their own singing. Grahame Clifford, an accomplished comedian with the D'Oyly Carte Opera Company and Monica Sinclair were ‘fan’ favorites at Covent Garden, with Sinclair’s career continuing to soar over the next twenty years. As with grand opera, the acting in The Tales of Hoffmann is theatrical and, on occasion, owes much to the pantomime of the silent era. Each of the featured fantasies is earmarked by a particular color scheme; the Parisian-inspired Tales of Olympia, bathed in buttery hues to exaggerate its risible character, the Venetian-themed Tales of Giulietta, darkly saturated in inferno-rich reds and auburns, and, for the Grecian-placed finale, deeply saturated azure to simulate sadness and despair. The Tales of Hoffmann is, perhaps, the most highly stylized movie ever made, a showcase for cinematographer, Christopher Challis’ exemplary use of the 3-strip Technicolor process, immeasurably showing off Hein Heckroth’s stellar production design, Arthur Lawson’s art direction, and Ivy Baker and Heckroth’s stunningly handsome costumes.

Co-directed by Powell and Pressburger at Shepperton Studios, with the operatic pre-recordings left in the capable hands of Sir Thomas Beecham and the Royal Philharmonic Orchestra, The Tales of Hoffmann was not altogether well-received, particularly in America where it was occasionally savaged for its attempt to be too highbrow – arguably, the kiss of death for all ‘popular’ entertainment. Our story begins with a prologue, starring American actor/tenor, Robert Rounseville as the titular Hoffmann, seated transfixed by prima ballerina, Stella (a luminous and fire-haired Moira Shearer) during a performance of The Ballet of the Enchanted Dragonfly. Afterward, Stella sends Hoffmann a note to rendezvous, alas, intercepted by a rival for her affections, Councillor Lindorf (the ever-dependable Powell and Pressburger fav’, Robert Helpmann). Unaware of his invitation, Hoffmann departs for the tavern where he regales the patrons with a tale of the clown, Kleinzach (Frederick Ashton) and three stories devoted to his past loves – Olympia, Giulietta and Antonia – while quietly getting drunk. Olympia (also Shearer) a beautifully devised android, the creation of scientist, Spalanzani (Léonide Massine) and magic spectacle maker, Coppelius (Helpmann, again) lures Hoffmann into a romance before he realizes she is merely an animated machine, incapable of feelings. In the second scenario, Hoffmann journeys to Venice where he romances Giulietta (Ludmilla Tchérina), whose reciprocated passion is but a ruse to capture his reflection for her true love, Dapertutto – the magician (Helpmann, yet again). In the final story, Antonia (Ann Ayars) is a soprano afflicted with an incurable disease. To preserve herself, she must not sing. Alas, the menacing Dr. Miracle (yep, Helpmann some more) tricks the girl into a song. She dies, breaking Hoffmann and her father, Crespel’s (Mogens Wieth) heart. We return to the tavern where Hoffmann concludes each of the previous women represents some part of his enduring passion for Stella. Tragically, she appears in the tavern, but seeing Hoffmann drunk and incapacitated, elects to return to Councillor Lindorf instead.

The Tales of Hoffmann is a bravura experiment that does not entirely live up to either its aspiration or its publicity. To be sure, the creative pistons in Powell and Pressburger’s massively moody and marvelous movie tableaus have reached their artistic zenith here. From a pure production standpoint, the picture is layered with exquisite attention to every last detail, all of it tricked out in vintage Technicolor to elicit action, drama and tears. Yet, none are forthcoming. And, blame cannot even be afforded the performers who, given their directive to remain ‘grander than life itself’ are, each in their own way, towering constructs – part theatrical cliché/part manipulated menagerie of the operatic ilk.  And yet, the whole of the piece is somehow far less than its parts, glutting one’s sagacity without arranging any genuine exhilaration to fill the void. While The Red Shoes possessed sincerity, ardor and vivacity, The Tales of Hoffmann remains impressively remote.

Criterion will finally get around to releasing The Tale of Hoffmann to Blu-ray in June. While we wait for that release, let us consider StudioCanal’s Blu from nearly 2 years ago. It is unlikely Criterion will best this effort, if, in fact, they try at all, or merely license out this 1080p transfer with their own extras replacing what’s here. StudioCanal’s ‘region B’ locked efforts are remastered from a then ‘new’ 4K scan of original elements and looks every inch as stellar as you might expect. Apart from correcting the mis-aligned Technicolor that was present on Criterion’s DVD from 2002, StudioCanal’s Blu benefits from deep and satisfying color saturation, exceptional contrast and a light smattering of grain looking very indigenous to its source. This is an impeccable master, free of age-related debris and exporting exceptional tones and textures that truly make this a reference-quality effort from top to bottom. StudioCanal’s efforts have also unearthed missing footage from the Antonia sequence, reinstated herein, as well as a ‘curtain call’ for the performers, inexplicably shorn from all prior home video releases. Long ago, nearly 6 mins. of footage was excised from the prologue and Olympia vignette. This footage has never been recovered. Otherwise, what’s here can be regarded as comprehensive, and likely the definitive cut of the movie. Restored 2.0 PCM mono sounds pretty fantastic too.

Extras are disappointing, and likely, where the aforementioned upcoming Blu from Criterion will advance. On this StudioCanal edition, we get two intros; one from Martin Scorsese, another from editor, Thelma Schoonmaker. There are also extensive stills galleries to peruse and a ‘new’ trailer promoting this restoration. Bottom line: The Tales of Hoffmann will not be to everyone’s tastes. And furthermore, it’s storytelling misses the Archer’s bull’s eye to enthrall on an emotional level, as all grand opera ought. But it remains a valiant endeavor to do something monumentally different with the art of picture-making. And it excels on so many creative levels, it is easier than usual to overlook its shortcomings. Apart from a lack of extra features, StudioCanal’s Blu has none. Let us see what Criterion can do with the rest in June. In the meantime, for those with ‘region free’ Blu-ray players – very highly recommended!

FILM RATING (out of 5 – 5 being the best)

3

VIDEO/AUDIO

5+

EXTRAS

2