Certainly THE TALES OF HOFFMANN is not a film for everyone. It's done as pure opera with singing throughout and performed as a ballet with lavish set designs and breathtaking use of Technicolor. It won Oscar nominations for Set Decoration and Color and is produced in the tasteful style of all Powell and Pressburger films.
But the drawback is that only the tale of Olympia, the mechanical doll, and the ill-fated love affair with the young Hoffmann (played in all three segments by tenor Robert Rounseville) is up to the top standards the film strives to achieve. The other tales of Hoffmann's follies are less interesting, not as easy to understand and not as entertaining or melodious as the Olympia segment.
The final tale of Antonia suffers from the high notes forced upon screeching soprano (Anne Ayars) and the demands of the score which is clearly more tedious than melodious at this point.
Robert Helpmann as the villain in all three tales is excellent and Robert Rounseville as Hoffmann is the only cast member who does his own singing in a strong tenor voice. You may remember him as Mr. Snow in Rodgers and Hammerstein's "Carousel" with Gordon MacRae and Shirley Jones.
But there's no denying the magic of all the visual images on screen which includes the use of puppets and a good mixture of cinema and stage techniques. Opera lovers will find fault with some of the singers but it's hard to see any fault in the dancing which looked magnificent to me.
None of the stories are as involving as "The Red Shoes" and this is one of the weaknesses of the film. The first story is far better than the rest of the tales which makes for an uneven blend of storytelling.
A brilliant use of color and classical music makes it a "must see" for most film buffs.
But the drawback is that only the tale of Olympia, the mechanical doll, and the ill-fated love affair with the young Hoffmann (played in all three segments by tenor Robert Rounseville) is up to the top standards the film strives to achieve. The other tales of Hoffmann's follies are less interesting, not as easy to understand and not as entertaining or melodious as the Olympia segment.
The final tale of Antonia suffers from the high notes forced upon screeching soprano (Anne Ayars) and the demands of the score which is clearly more tedious than melodious at this point.
Robert Helpmann as the villain in all three tales is excellent and Robert Rounseville as Hoffmann is the only cast member who does his own singing in a strong tenor voice. You may remember him as Mr. Snow in Rodgers and Hammerstein's "Carousel" with Gordon MacRae and Shirley Jones.
But there's no denying the magic of all the visual images on screen which includes the use of puppets and a good mixture of cinema and stage techniques. Opera lovers will find fault with some of the singers but it's hard to see any fault in the dancing which looked magnificent to me.
None of the stories are as involving as "The Red Shoes" and this is one of the weaknesses of the film. The first story is far better than the rest of the tales which makes for an uneven blend of storytelling.
A brilliant use of color and classical music makes it a "must see" for most film buffs.