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Commentary on the Tales of Hoffmann Commentary on The Tales of Hoffmann The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2017. "Commentary on The Tales of Hoffmann." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/commentary-for-tales- of-hoffmann/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40935344 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. Classical Inquiries is published under a Creative Commons Attribution-NonCommercial 4.0 In- ternational License. Every efort is made to use images that are in the public domain or shared under Creative Commons licenses. Copyright on some images may be owned by the Center for Hellenic Studies. Please refer to captions for information about copyright of individual images. Citing Articles from Classical Inquiries To cite an article from Classical Inquiries, use the author’s name, the date, the title of the article, and the following persistent identifer: http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. For example: Nagy, G. 2019.01.31. “Homo Ludens at Play with the Songs of Sappho: Experiments in Comparative Reception Teory, Part Four.” Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Classical Inquiries Studies on the Ancient World from CHS Home About People Home » By Gregory Nagy » Commentary on The Tales of Hoffmann Commentary on The Tales of Hoffmann Share This November 2, 2017 By Gregory Nagy listed under By Gregory Nagy Comments off Edit This 2017.11.02 | By Gregory Nagy On the film The Tales of Hoffmann (1951). Commentary by Gregory Nagy 2012.11.11, revised 2017.10.23. For a prior commentary, see §§34–45 of ch.1 of Nagy’s Masterpieces of Metonymy. On the original opera Les Contes d’Hoffmann by Jacques Offenbach, Nagy offers extensive analysis in http://nrs.harvard.edu/urn­3:hlnc.essay:Nagy.The_Fragmentary_Muse_and_the_Poetics_of_Refraction.2009. The 1951 film The Tales of Hoffmann is currently re­distributed by Criterion Collection, Janus Films, Studio, a Canal+ Company. Featured in the Criterion edition are comments by Martin Scorsese and Bruce Eder, focusing on selected portions. The commentary on this 1951 film, as posted here, was written in 2012 by Gregory Nagy and revised in 2017. This commentary by GN, which is divided into 29 “chapters,” goes through the whole film frame by frame, analyzing both video and audio. The time­stamps embedded in the commentary by GN, as in the case of the notation “{0:54–57}” with reference to the use of Technicolor, were entered 2017.11.28 by Cyerra Haywood, following the time­count of Classical Inquiries (CI) is an online, the Criterion edition mentioned above. Some of the remarks made by Martin Scorsese and Bruce Eder in the rapid-publication project of Harvard’s Criterion edition have been paraphrased by CH, and her relevant paraphrases have been inserted, Center for Hellenic Studies, devoted to 2018.05.03, into the general commentary presented below by GN. sharing some of the latest thinking on [Essay continues here…] the ancient world with researchers and the general public. Editor Keith Stone [email protected] Search for: Search Subscribe Now! Subscribe to this site to receive email updates about the latest research—just one or two notices per week. EU/EEA Privacy Disclosures ch.1 London Films. Big Ben says 11:00. {0:30–43} An arrow hits bull’s eye {0:43–0:48} Next, ‘A Michael Powell and Emeric Pressburger Production’. Now Online [from paraphrases, via Cyerra Haywood, of remarks made by Martin Scorsese and Bruce Eder in the Criterion edition of the film…] This film, based on the 1881 opera Les contes d’Hoffmann, by Jacques Offenbach, which drew its inspiration primarily from the stories of E. T. A. Hoffmann, was written, directed, and produced by Michael Powell and Emeric Pressburger. Theirs was a groundbreaking achievement in cinema, celebrated especially for its innovative camera work and set design—not to mention the power of the storytelling and the music itself. Participating in the musical effort were the Royal Philharmonic Orchestra, The Sadler’s Wells Ballet, and, as mentioned in the original trailer, “the finest opera singers in the world.” Hoffmann is recognized as the last great film of the Powell­Pressburger partnership. Next, ‘Colour by Technicolor’. … with the British spelling of ‘color’ and with the American spelling of ‘Technicolor’… {0:54–57} Then the ‘stars’… Moira Shearer ‘by permission of the Covent Garden Opera Trust’ [from paraphrases via CH…] She was an alumna of the Sadler’s Wells Ballet School in London and, at the time, she was considered to be their second­best dancer. Ludmila Tcherina [from paraphrases via CH…] She had been the youngest prima ballerina in the history of the Grand Ballet of Monte Carlo. Ann Ayars Pamela Brown Leonide Massine [from paraphrases via CH…] He was trained as an actor but also studied dance, music, painting, and sculpture. Robert Helpmann Top Posts & Pages [from paraphrases via CH…] He was another member of the Sadler’s Wells Ballet Company but he also pursued acting—and had a keen interest in opera. The Last Words of Socrates at the Place Where He Died Frederick Ashton Mogens Wieth Musings about a scene pictured AND by the Achilles Painter Robert Rounseville Homo ludens at play with the [from paraphrases via CH…] He made his screen debut playing Hoffmann; as the star tenor of songs of Sappho: Experiments in the City Center Company in New York, he had actually played the role of Hoffmann before. comparative reception theory, Part Five With Lionel Harris Meinhart Maur Most Common Tags Philip Leaver Edmond Audran {1:00–12} The orchestra is warming up in the background—a humming continuum {1:12–17} Achilles Aphrodite apobatēs Ariadne ‘in Jacques Offenbach’s…’ Aristotle Artemis Athena Athens Catullus Chalcis chariot fighting The Tales of Hoffmann In the background, we see a château, all dark except for a lit window showing two frames separated by a Commentary Delphi vertical bar, with two figures in each of the two frames on each side of the bar. Demodokos Dionysus etymology The orchestra keeps warming up in the background—a continuous hum of excited anticipation. There is a similar effect created at the start of the later Powell and Pressburger film, The Red Shoes {1:17–25} Euripides Gregory Nagy H24H HAA travel-study Helen Hera Herodotus As the same blue background continues into the next frame, we read … ‘A fantastic opera Hippolytus Homer English libretto by Dennis Arundell Homeric epic Iliad From the French text by Jules Barbier’ {1:26–33} Jean Bollack lament Lelantine War mimesis ‘Conductor Minoan Empire Mycenae Odysseus Sir Thomas Beecham [Bart.]’ Odyssey Pausanias [from paraphrases via CH…] He was not only the conductor but also the music director for the film. Phaedra Pindar Plato Poetics Posidippus He gets credit for persuading Powell and Pressburger to undertake a film version of Hoffmann. He also composed and arranged the Dragonfly Ballet, based on Offenbach’s original material. Sappho Theseus weaving Zeus Archives Against the same blue background. The orchestra keeps warming up in the background—a continuing jittery hum {1:33–39}. Again against a blue background … Archives ‘with The Royal Philharmonic Orchestra Users And sung by Robert Rounseville Dorothy Bond Margherita Grandi Log out Ann Ayars Monica Sinclair Joan Alexander Grahame Clifford Bruce Dargavel Murray Dickie Owen Brannigan Fisher Morgan Rene Soames The Sadler’s Wells Chorus’ The orchestra keeps warming up in the background—a continuing jittery hum, and the anticipation is building {1:39–2:02}. Next, ‘The film was designed by Hein Heckroth [from paraphrases via CH…] He was an acclaimed designer for theater, ballet, and film production. Altogether, he worked on nine films with Powell and Pressburger, becoming best known for their collaboration on The Red Shoes. photographed by Christopher Challis [from paraphrases via CH…] This cinematographer made full use of the enormous stage that Powell had created for the filming of Hoffmann. Originally built in 1935 for special effects work, this stage was converted into the largest motion picture set ever yet made. The film is divided into different sets that fit different scenes. The sets consisted of backdrops, paintings, and miles of gauze—to be changed for each scene. The sets for each of the three tales were designed to convey different moods by way of differences in the dominant color: —Olympia: yellow for seemingly innocent lightheartedness.
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