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Hans Christian Anderson
Producer Samuel Goldwyn pulled out all the stops for 1952's Hans Christian Anderson, a lavish musical extravaganza that people think is a biography of the famous children's storyteller, but is actually a fairy tale about a famous children's storyteller named Hans Christian Anderson. It also became a career-defining role for Danny Kaye.
The story begins in a tiny Danish village where Hans Christian Anderson is the village cobbler, but spends more time telling the village children fairy tales than he does fixing shoes. His apprentice Peter spirits him out of town before he is forced to leave and he and Peter embark on a journey to Copenhagen, where Hans comes between a beautiful and self-absorbed ballerina and her demanding choreographer/husband.
I'd seen bits and pieces of this film as a child, but this was my first beginning to end watch of this completely captivating musical that had me riveted to the screen. Moss Hart's sophisticated screenplay (clearly inspired by The Red Shoes) quietly establishes Hans Christian Anderson as a man who is only able to communicate his true passions through stories that he has written and most of the time these stories are analogies to real events that sometimes Anderson doesn't even see himself. We think we're going to get a two hour film about a guy who does nothing but tell stories to children, but then we are dramatically thrust into an honest to God romantic triangle that we don't see coming at all. It's a little heartbreaking watching Anderson express his love for the ballerina through a story called "The Little Mermaid" and her not having a clue while her husband turns the story into a ballet for the clueless diva.
Another big plus here is the absolutely superb musical score supplied by Frank Loesser (Guys and Dolls) that brings an added richness to the story that's pretty hard to resist. The songs include "Wonderful Copenhagen", "I'm Hans Christian Anderson", "Thumbelina", "Anywhere I Wonder", "The King's New Clothes", "The Ugly Duckling", "No Two People", and my personal favorite, "Inchworm." The film also features three elaborate ballets that allow prima ballerina Jeanmaire to shine, choreographed by her husband Roland Petit, who dances the lead in the "Little Mermaid" ballet. Loved when Hans was locked in the prop room before the premiere of his ballet and had to imagine what we were seeing.
Production values are first rate here, with special nods to art direction/set direction, sound, and some absolutely breathtaking costumes. Danny Kaye lights up the screen like he never has in the title role and anyone who doesn't fall in love with this Hans Christian Anderson is a heartless monster. I was also impressed by Farley Granger, charismatic as Jeanmaire's husband. Charles Vidor's direction is spirited and focused guiding us through an enchanted cinematic journey that consistently entertained.
Producer Samuel Goldwyn pulled out all the stops for 1952's Hans Christian Anderson, a lavish musical extravaganza that people think is a biography of the famous children's storyteller, but is actually a fairy tale about a famous children's storyteller named Hans Christian Anderson. It also became a career-defining role for Danny Kaye.
The story begins in a tiny Danish village where Hans Christian Anderson is the village cobbler, but spends more time telling the village children fairy tales than he does fixing shoes. His apprentice Peter spirits him out of town before he is forced to leave and he and Peter embark on a journey to Copenhagen, where Hans comes between a beautiful and self-absorbed ballerina and her demanding choreographer/husband.
I'd seen bits and pieces of this film as a child, but this was my first beginning to end watch of this completely captivating musical that had me riveted to the screen. Moss Hart's sophisticated screenplay (clearly inspired by The Red Shoes) quietly establishes Hans Christian Anderson as a man who is only able to communicate his true passions through stories that he has written and most of the time these stories are analogies to real events that sometimes Anderson doesn't even see himself. We think we're going to get a two hour film about a guy who does nothing but tell stories to children, but then we are dramatically thrust into an honest to God romantic triangle that we don't see coming at all. It's a little heartbreaking watching Anderson express his love for the ballerina through a story called "The Little Mermaid" and her not having a clue while her husband turns the story into a ballet for the clueless diva.
Another big plus here is the absolutely superb musical score supplied by Frank Loesser (Guys and Dolls) that brings an added richness to the story that's pretty hard to resist. The songs include "Wonderful Copenhagen", "I'm Hans Christian Anderson", "Thumbelina", "Anywhere I Wonder", "The King's New Clothes", "The Ugly Duckling", "No Two People", and my personal favorite, "Inchworm." The film also features three elaborate ballets that allow prima ballerina Jeanmaire to shine, choreographed by her husband Roland Petit, who dances the lead in the "Little Mermaid" ballet. Loved when Hans was locked in the prop room before the premiere of his ballet and had to imagine what we were seeing.
Production values are first rate here, with special nods to art direction/set direction, sound, and some absolutely breathtaking costumes. Danny Kaye lights up the screen like he never has in the title role and anyone who doesn't fall in love with this Hans Christian Anderson is a heartless monster. I was also impressed by Farley Granger, charismatic as Jeanmaire's husband. Charles Vidor's direction is spirited and focused guiding us through an enchanted cinematic journey that consistently entertained.