Monthly Archives: January 2019

A Critical Look at M-G-M’s MADAME BOVARY (1949) directed by Vincente Minnelli: the Waltz Scene featuring Jennifer Jones and Louis Jourdan.

The Waltz Scene was Filmed to the Music

One of the film’s most carefully wrought and delightful scenes is this ballroom sequence. It was one of the last segments to be shot. The film footage was tailored to Miklós Rózsa’s music. Minnelli explained to the composer in advance the camera movements so he could write the music in an arrangement for two pianos. The scene was then filmed to match it. Their artistic collaboration produced one of cinema’s most original scenes uniting robust music with weaving and gliding images on film.

Madame Bovary (Jennifer Jones) and Rodolphe Boulanger (Louis Jourdan) waltz at the ball. It is one of the film’s most delightful scenes and one of the last to be shot. Director Vincente Minnelli made certain its choreography carefully matched the music of Miklós Rózsa. Madame Bovary was nominated for an Oscar for Best Art Direction-Set Decoration, Black-and-White.

Beautiful and charming Emma Bovary (Jennifer Jones) is repulsed by her uncouth husband, Charles Bovary (Van Heflin), an undistinguished medical doctor, and begins an affair with Rodolphe Boulanger (Louis Jourdan). Their plans to elope, however, do not materialize as Emma hoped.

“Break the Windows” dramatizes a heroine’s transition into madness

As Rodolphe swirls her, Emma Bovary’s head spins until she becomes dizzy. The viewer sees her disorientation as the camera takes her viewpoint. She keeps dancing but asks for fresh air. Her request leads to an extraordinary and incredible reaction by the stewards. They start to smash the ballroom’s windows with chairs to help her cool down. This fantastically destructive action of broken glass aligns with the destruction of Emma’s romantic illusions throughout the film.

In reaction to Madame Bovary becoming dizzy while waltzing with a new lover, the stewards smash the ballroom windows to give her air. The extraordinary action ultimately becomes symbolic of the destruction of Madame Bovary’s romantic illusions with handsome, wealthy Rodolphe and her own descent into madness.

Night of Repressed Passion

Along with her husband’s boorish behavior at the ball and everywhere else, Madame Bovary’s romantic disappointment leaves her feeling publicly humiliated. Instead of love and excitement, Madame Bovary runs out of the ball in shame. Though she yearns for happiness and excitement, her pursuit of selfish pleasures ends in scandal and ruin.

Jennifer Jones as Madame Bovary offers a performance that is elegant and beautiful. It is equally insightful to the selfish and nervous personality of Flaubert’s fictional character.

A film poster for Vincente Minnelli’s Madame Bovary. Several different versions of the film poster were produced for the marketing of the 1949 film.

This publicity photo for Madame Bovary showed the love triangle of Madame Bovary (Jennifer Jones), her handsome lover Rodolphe Boulanger (Louis Jourdan), and her cuckolded husband Charles Bovary, a medical doctor (Van Heflin).

Thirty-year-old Jennifer Jones plays Gustave Flaubert’s doomed title character, Madame Bovary, from his 1856 serial novel.

Vincente Minnelli’s film of the same name offered two costume and wardrobe managers: Walter Plunkett for women and Valles for men.

Walter Plunkett (1902-1982) was a prolific costume designer who worked on more than 150 projects in his Hollywood career, including Gone With The Wind. In 1951, Plunkett shared an Oscar with Orry-Kelly and Irene Sharaff for An American in Paris.

Valles (1886-1970) specialized in men’s costumes at M-G-M. Valles received two Academy Award nominations, including Spartacus in 1960.

Van Heflin is Charles Bovary, whom Madame Bovary (Jennifer Jones) had loved and hoped to build a respectable life, but in whom she grew disillusioned.

In the role of Madame Bovary Jennifer Jones gives a performance beyond the superficiality of display or machination of melodrama and enters into the inner psychology of the character whose anxious egomania manifesting joy and elation is driven by disillusionment to deterioration and self-destruction. Director Vincente Minnelli worked closely with composer Miklós Rózsa to integrate the image, plot and characters with the musical score which the composer admired for its artistic cinematic outcome.

A unique example of the Valles’ costume design for Louis Jourdan and Walter Plunkett’s costume design for Jennifer Jones for the 1949 film Madame Bovary. The next year, in 1950, both Valles and Walter Plunkett were nominated for the Academy Award for Compton Bennett’s That Forsyte Woman/Saga.

Madame Bovary danced wildly with Rodolphe at the ball and loves him. The illicit couple plan to elope to Italy. But Rodolphe leaves for Italy without her and shatters Madame Bovary’s spirit and dreams.

Costumes were by award-winning Valles and Walter Plunkett, both award-winning Hollywood costume designers.

Madame Bovary (Jennifer Jones) is indulged by an unscrupulous shop-keeper as she lives beyond her means in the pursuit of happiness. She takes on a heavy debt that is impossible to pay back.

The film plot is told from the point of view of the author, Gustave Flaubert (James Mason). A legal proceedings takes place where Flaubert is accused of corrupting morals by writing Madame Bovary. It is an historical fact that, in 1858, Flaubert and his publisher had faced government charges of immorality for Madame Bovary. But the outcome of the trial was that Flaubert was completely acquitted.

Charles, who never stopped loving his wife, begs her to wait for a doctor to arrive. Madame Bovary sighs, “Oh, Charles, why are you always trying to save me?”

From the waltz scene through to her death scene Jennifer Jones as Madame Bovary offers a performance that is elegant and beautiful. It also provides insight into the contradictions offered by a selfish and nervous personality.

In the end Madame Bovary finds that her own death is more attractive to her than living with her shattered dreams.

A 1949 film poster for Madame Bovary that includes a publicity head shot of James Mason as Gustave Flaubert, the novel’s French author.

Minnelli’s film is told in flashback through the character of Flaubert who is on trial for charges of immorality for writing the novel. After Flaubert’s work was serialized in the Revue de Paris in 1856, the government charged and tried the author and his publisher for immorality. Both were acquitted in 1859. After Madame Bovary appeared in book form in France, it became an instant classic.

Vincente Minnelli directs Jennifer Jones and Louis Jourdan in a scene from Madame Bovary.

Reviews from film critics had been mixed and Madame Bovary lost money at the box office. Whether it is the fault of the film-makers or the unhappy story becomes a debatable point.

Reviews for Madame Bovary, released in late August 1949, were mixed with the film not recouping its full production costs.

*The photograph copyright may be believed to belong to the distributor of the film, Metro-Goldwyn-Mayer, the publisher of the film or the graphic artist. The copy is of sufficient resolution for commentary and identification but lower resolution than the original photograph. Copies made from it will be of inferior quality, unsuitable as counterfeit artwork, pirate versions or for uses that would compete with the commercial purpose of the original artwork. The image is used for identification in the context of critical commentary of the work, product or service for which it serves as poster art. It makes a significant contribution to the user’s understanding of the article, which could not practically be conveyed by words alone. As this is a publicity photo (star headshot) taken to promote an actress, these have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary. (See- Eve Light Honthaner, film production expert, in The Complete Film Production Handbook, Focal Press, 2001 p. 211.) Gerald Mast, further, film industry author, in Film Study and the Copyright Law (1989) p. 87, writes: “According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film’s copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible.” Kristin Thompson, committee chairperson of the Society for Cinema and Media Studies writes in the conclusion of a 1993 conference with cinema scholars and editors, that they “expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements … [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs.”(“Fair Usage Publication of Film Stills,” Kristin Thompson, Society for Cinema and Media Studies.)

Six Famous Ballets – GISELLE (1841), PAQUITA (1846), COPPÉLIA (1870), THE DREAM (1964), ONEGIN (1965), and MAYERLING (1978).

Ballet Society, New York, 1948. Photo by Irving Penn is here: https://www.artic.edu/artworks/144790/ballet-society-new-york

Ballet developed mainly in Russia in the late 19th century. Its revival included (1) the resurgence revival of the male role and (2) the rise of the pas de deux.

Six Famous Modern & Classic Ballets.

# 1 The Dream (1964).

Choreographer: Frederick Ashton.

Music: Felix Mendelssohn.

Story: W. Shakespeare.

Adapted from William Shakespeare (English, 1564-1616) The Dream is a one-act ballet for the Royal Ballet created in 1964. Depicted is elegant Oberon, king of the forest fairies.

Shakespeare’s A Midsummer Night’s Dream, interpreted by Frederick Ashton, is a classic of The Royal Ballet’s repertory. Akane Takada performs the role of Titania, Queen of the Fairies. The high-spirited misadventures of the two pairs of mortal lovers from Shakespeare’s A Midsummer Night’s Dream combine with the humorous cavorting of Bottom, played by a male dancer who dances en pointe after his ludicrous transformation. The ballet culminates in a powerful pas de deux for Oberon and Titania, which moves through a stormy conflict of wills to a harmonious union. Felix Mendelssohn’s witty, gossamer-light music for the play provides a perfect partner to Frederick Ashton’s inventive choreography.

# 2 Onegin (1965).

Choreographer: John Cranko.

Music: Pyotr Ilyich Tchaikovsky.

Story: A. Pushkin.

With music by Pyotr Ilyich Tchaikovsky (1840-1893), Onegin was first performed in 1965. Onegin is one of the most popular story ballets for both audiences and dancers.

Onegin was created by John Cranko (1927-1973) and is his ballet masterpiece. Its lead roles are Tatiana and Onegin, and Olga and Lensky. These are finely drawn characters who tell a story of love and tragedy through a series of intricate and diverse dance sequences.

With his full-length ballet Onegin, John Cranko secured his place in the pantheon of great 20th century choreographers. Based on Alexander Pushkin’s dramatic verse novel „Eugen Onegin“, he tells the story of the arrogant and world weary aristocrat Onegin who rejects the love of the naïve country girl Tatiana only to realize – upon meeting her again years later – that in her he threw away the only woman who ever truly loved him. On the occasion of its 50th anniversary the Stuttgarter Ballett has come up with a special cast featuring Alicia Amatriain as Tatjana, Friedemann Vogel as Onegin, Elisa Badenes as Olga, David Moore as Lenski, Jason Reilly as Prince Gremin, Melinda Witham as Madame Larina and no other than the wonderful Marcia Haydée as nurse.

#3 Mayerling (1978).

Choreographer: Kenneth MacMillan.

Music: Franz Liszt.

Story: G. Freeman.

Mayerling was created by principal choreographer and former artistic director Kenneth MacMillan (1929-1992) at The Royal Ballet. Since its premiere in 1978, it has been a popular staple on the ballet stage. The music is by Franz Liszt (1811-1886).

The male lead dancer appears in virtually every scene in the three-act ballet and performs with five different ballerinas. It is one of ballet’s most demanding roles.

Mayerling is a tragic story based on the true story of the murder-suicide of the crown prince of Austria-Hungary and his mistress.

Mayerling is the Imperial hunting lodge in the Vienna Woods where the bodies of the pair were discovered on January 30, 1889.

Mayara Magri as Mitzi, and Marcelino Sambé, Reece Clarke, Tomas Mock and Calvin Richardson as Four Hungarian Officers, and Steven McRae as Crown Prince Rudolf. Kenneth MacMillan’s Mayerling was filmed and screened live in cinemas on 15 October 2018.

FAMOUS BALLERINA: Pierina Legnani (1868-1930).

Pierina Legnani (1868-1930). Legnani is depicted in 1896 at the Imperial Marinsky Theatre in Saint Petersburg, Russia in the lead role in *La Perle*, an original production created for her.

Pierina Legnani (1868-1930) is considered the greatest Italian ballerina of the late nineteenth century.

Legnani trained at La Scala Theatre Ballet School in Milan and danced famously in Europe, especially in Italy and Russia.

Pierina Legnani and Olga Preobrajenska (1871-1962) in 1899. In the late 19th century, the pair were considered the greatest ballerinas.

The Mariinsky Theater of ballet and opera in St. Petersburg, Russia, opened in 1860.

Pierina Legnani was reputed to have been the first ballerina to dance 32 fouettes. But as we find out, this wasn’t strictly the case.

#4 Giselle (1841).

Choreographer: Jean Coralli and Jules Perrot.

Music: Adolphe Adam.

Story: Théophile Gautier and Vernoy de Saint-Georges.

Natalya Bessmertnova and Mikhail Lavrovsky dance the roles of Giselle and Albrecht in Giselle.

With its premiere at the Paris Opera (Salle Le Peletier) in June 1841, the ballet Giselle was an immediate triumph and staged across Europe.

The story is about two lovers, Giselle and Albrecht. When Giselle discovers that Albrecht is betrothed to Bathilde she dies of a broken heart at the end of Act I. This leads to the appearance in Act II of a group of otherworldly and potentially mortally dangerous Wilis, a type of young female vampire. These creatures are intent on revenge for Giselle by arranging for Albrecht’s destruction.

The ballet music was composed by Adolphe Adam (1803-1856). It became the French composer’s most popular and enduring work. Musically, Adam introduced to ballet the leitmotif, that is, a specific theme for a character who appears on stage in the ballet.

The libretto was scored by Théophile Gautier (1811-1872) and Jules-Henri Vernoy de Saint-Georges (1799-1875). The choreography was by Jean Coralli (1779-1854) and Jules Perrot (1810-1892).

Extrait de Giselle avec les Étoiles Myriam Ould-Braham et Mathieu Ganio dans les rôles de Giselle et d’Albrecht. Du 28 mai au 14 juin 2016 au Palais Garnier.

The print above depects the theatre at the time of Adolphe Adam’s triumphant ballet Giselle. The opera building, opened in 1820, was destroyed by fire in 1873 and replaced in a new location by the Palais Garnier.

Opera Le Peletier salle in 1858 by Gustave Janet (1829-1898).

#5 Coppélia (1870).

Choreographer: Arthur Saint-Léon.

Music: Léo Delibes.

Story: Charles-Louis-Étienne Nuitter.

*Coppélia*. Shioro Kase dances as Swanilda and Yonah Acosta dances as Franz. English National Ballet.

Coppélia is a comic ballet based on Der Sandmann by E.T.A. Hoffmann (1776-1822). It was choreographed by Arthur Saint-Léon (1821-1870) with music by Léo Delibes (1836-1891) and a libretto by Charles-Louis-Étienne Nuitter (1828-1899).

The comedy surrounding mischief-making village folk premiered in May 1870. Its production was immediately interrupted by the Franco-Prussian War and the siege of Paris. Following the hostilities, Coppélia went on to become one of the most popular works of the Paris Opera Ballet.

Italian ballerina Giuseppina Bozzacchi (1853-1870) first danced the part of Swanilda. Tragically, the 17-year-old ballerina died from malnutrition related to the Franco-Prussian War’s privations in November 1870.

FAMOUS BALLERINA: Marie Taglioni (1804-1884).

Marie Taglioni had many spectacular ballet accomplishments in her dancing career that spanned 25 years.

Marie’s parents were both dancers. Her Swedish mother was a ballet dancer and her Italian father was a dancer, choreographer, and ballet master in Vienna at the Court Opera.

Marie was rigorously trained by her father in Vienna, including six hours of ballet practice everyday for six days a week. The hard work paid off.

At 17 years old, Marie made her debut in Vienna in Rossini’s La reception d’une jeune nymphe à la cour de Terpischore, choreographed by her father. For the next five years Marie danced in cities in Austria and Germany until, in 1827, she made her Paris Opéra debut.

An introduction to ballerina Marie Taglioni, the most famous dancer of the Romantic era. Former ballet mistress Ursula Hageli explores her role in the creation of La Sylphide with Royal Ballet dancer Yasmine Naghdi and pianist Paul Stobart.

In 1832 Marie is credited with dancing en pointe (on tip toes), an innovation for ballet theater at that time. As a famous celebrity and the first famous ballerina, Marie Taglioni influenced fashion and hairstyles in the Romantic era of the 1830’s.

Marie Taglioni as Flore in Charles Didelot’s ballet *Zephire et Flore*. Hand-colored lithograph, c. 1831 by Alfred Chalon (1780-1860).

Marie married in 1832 but was separated in 1836. She bore a child with a lover in 1836 but he died soon after. In 1837 Marie accepted a dance contract to perform in Russia at the famed Imperial Ballet in St. Petersburg. Marie remained at the Imperial Ballet until 1842, the same year she gave birth to a second child. In 1843 she danced in Milan at La Scala in another of her father’s ballet creations, La Sylphide and in 1845 appeared in London at Her Majesty’s Theatre dancing in Pas de quatre choreographed by Jules Perrot (1810-1892). In London, Taglioni was one of the famous ballerinas to appear in this production dancing alongside Carlotta Grisi (1819-1899), Lucile Grahn (1819-1907) and Fanny Cerrito (1817-1909).

Marie Taglioni with ballerinas, Lithograph, Thomas Herbert Maguire, 1845.

Dominating the image (above) is Marie Taglioni, standing with her arms en couronne, surrounded by ballerinas Lucille Grahn, Fanny Cerrito, and Carlotta Grisi. The lithograph by English artist and engraver Thomas Herbert Maguire (1821-1895) depicts a scene for the 1845 London production of Pas de Quatre.

In 1847 Marie Taglioni retired from the stage following her appearance in The Judgment of Paris, a ballet that concludes an opera (1754) by Christoph Gluck.

Taglioni lived in Venice into the 1850’s and returned to Paris in 1857 to take up the position of dance examiner at the Paris Opéra. One day before her 80th birthday, she died in Marseilles.