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1 of 1 people found the following review helpful
on October 2, 2003
It is true that, as other reviewrs have asserted, this may not be "Tales" as Offenbach originally concieved it. A case can be made that the current 2nd act was originally intended as the final act. (where can you go after loosing and retrieving your soul?). And the english translation used in the film has some awkward phrasing - Crespel to Antonia: "Now did you not swear that that you'd not do?". This said, The film nevertheless stands as a brilliant, imaginative interpretation in its own right.
The current issue on VHS states that it restores scenes eliminated prior to its release. This is not the case. (I attended the initial release in Southern California). The restored scenes are those eliminated from the film for its application to U.S. television release - a real hatchet job to its last act. As might have been expected it had no home on American TV.
In addition to making it whole with the initial theatrical presentation color has been substantially improved as compared with the original VHS release. This makes it true to what was seen in comercial release and well worth the price of admission.
However, there are still scenes tantalizingly referenced in the video packaging which wound up on the cutting-room floor before comercial release of the film and which do not appear on the VHS video. First is Franz's aria "Day & Night I Am Always Slaving" and brief exchanges with Crespel which serve to establish his deafness (These can be heard on the London LP recording of the sound track, and a still of Massine during this aria appeared in the color program which was sold at the Premier). Second was the scene in which Nicklaus became Hoffmann's golden-gilded muse.
Should this film be released on DVD, which it certainly deserves to be, some effort should be made to find these missing pieces so the film can finally be seen as Powell & Pressburger originally intended.
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1 of 1 people found the following review helpful
on January 3, 2010
This is a must-have for anyone who enjoys great film makers creating cinematic art out of opera. It's definitely not the right DVD if you're looking for an accurate document of "Les Contes...". There are massive cuts throughout, the basics are screwed around (eg. Stella, Hoffman's main squeeze, has been transformed from an opera diva to a dancer) and it's all sung in English. But this film ranks, in my opinion, among the best opera films, up there with Losey's Don Giovanni and Syberberg's Parsifal, because Powell and Pressburger have actually tried to make an inventive, artistically challenging film, rather than merely filming a live performance. Highly recommended.
P.s. In the same vein, I would also recommend "U-Carmen", a stunning film of Bizet's masterpiece, transplanted brilliantly to a South African township.
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on April 27, 2000
Jacques Offenbach died before he could finish Tales of Hoffman, and no definitive version of it exists. Michael Powell and Emeric Pressburger used that fact as an opportunity to take quite a few liberties with it. It's sung in English translation, and the directors have dropped the sung and spoken prologue in favor of a pantomime with orchestral accompaniment. Stella is now a ballerina instead of a singer, and Linsdorf never speaks at all. These changes muffle the composer's intended theme that Hoffman's love life was getting in the way of his work and that the Muse of Poetry always frustrated his relations with women. The directors, however, seem to want to promote a different idea. The over-the-top decor, the costumes, and the mannerisms of the film create an atmosphere that is frankly gay, and the depiction of the female characters is determinedly misogynistic. All of them, from the female dragonfly to Antonia (Nicklaus is supposed to be a boy), are vain, egoistic, venal, or empty-headed; the only possible exception is Stella, and she allows Linsdorf to lead her away at the end. The only true place for a male poet apparently is with his drinking buddies.
Tales of Hoffman is an engaging film nonetheless; Offenbach had a talent for catchy melodies. Also, Moira Shearer's light-footed Olympia makes it difficult to watch anybody else in the role, especially a hefty well-fed singer. The lip-sync and the recording are good. The only dissonance is Nicklaus's wide hips. If this is ever issued on DVD, it could use English subtitles.
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on October 18, 2000
I like to think Leonard Maltin did not himself view - or review - this film. If he had, he wouldn't use terms like "engages in bizarre dreams" because, afterall, the entire story is a "dream" and a "fantasy" to begin with. I am biased! I am a Powell and Pressburger fan! And, having said that, I believe this movie is simply the most creative work of cinema ever achieved. Powell and Pressburger, and their team, The Archers, truly have combined all of the major Arts into a comprehensive whole - a "composed" art form which is almost too beautiful to look at! Even if opera and ballet are not one's taste, this film should be seen for the exquisite sets, costumes, make-up, cinematography etc. Michael Powell and Emeric Pressburger are sorely missed today! Amen.
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on January 10, 1999
Scorsese says he learned how to make movies from watching this one. I am devoted to this film because I like the opera, because of the odd symbolism that permeates the film, because of its lushness, and because of Moira Shearer (of The Red Shoes). You have to see it, if only because of its oddity. Frederick Ashton and Robert Helpmann also have major roles. The Ashton bio, "Secret Muses" by J. Kavanagh tells a bit about the making of this film. Sorry, but I dislike the singing that's dubbed in.
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on November 30, 1999
On the plus side, this imaginative realisation of Offenbach's masterpiece has the added bonus of superb dancing from Shearer and Helpman. On the minus side, Rounseville, though a very fine singer, is a very wooden actor. Also, anyone who is put off by the many revisions of, and additions to Offenbach's score will not be pleased by what they hear in this video. Finally, the Antonia act is boring. Still, I recommend this video because of the superb work in the prologue and in the Olympia and Giulietta acts.
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on February 11, 2003
I've owned this as a vhs and view it often. Perhaps Powell and Pressburger's most beautiful film, the scenes with Ludmilla Tcherina are spellbinding - especially walking on the sculptered faces! The forming of gems from candle wax. The Daliesque landscape near the conclusion. The...the...there's just too much. I better go watch it again. I hope CRITERION will issue this one on DVD soon!
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Hear music and voices so thrilling that they cause a chill. See dancing of such skill as to make an iconoclast revere the ballet. This 1951 film haunts one with its extraordinary, almost tactile beauty. Alas, we have the now obsolete "hi-fi" recordings and no longer can play them. My husband and I would be so gratified to be able to view this again on video.
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on April 21, 2000
I have seen this many times many years ago. The combination of ballet and dubbed-in singing - for example, in the second act Moira Shearer dancing and singing a coloraturad aria at the same time is entrancing. I would very much like to have it as a European standard video.
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on March 15, 2000
I have just received 'For all mankind - Criterion Collection'. In the catalog in the box, they announce a DVD edition of 'Tales of Hoffmann' coming soon! . When will it be issued?
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