Hans Christian Andersen (1952)

Director:

Charles Vidor

Writers:

Myles Connolly (story)
Moss Hart (screenplay)

Release Date:

14 August 1953 (France)

Genre:

Biography | Family | Musical | Romance

Tagline:

The glorious story of the greatest storyteller of them all!

Plot:

A completely fabricated biography of the famous Danish fairytale writer Hans Christian Andersen featuring...

Plot Keywords:

Hans Christian Andersen | Ballet | Schoolgirl | Home | Sitting

Awards:

Nominated for 6 Oscars. Another 4 nominations

Cast

Danny Kaye	...	Hans Christian Andersen
Farley Granger	...	Niels
Zizi Jeanmaire	...	Doro (as Jeanmaire)
Joseph Walsh	...	Peter (as Joey Walsh)
Philip Tonge	...	Otto
Erik Bruhn	...	The Hussar in "Ice Skating Ballet"
Roland Petit	...	The Prince in 'The Little Mermaid' Ballet
John Brown	...	Schoolmaster
John Qualen	...	Burgomaster
Jeanne Lafayette	...	Celine
Robert Malcolm	...	Stage Doorman
George Chandler	...	Gerta's Father
Fred Kelsey	...	First Gendarme
Gil Perkins	...	Second Gendarme
Peter J. Votrian	...	Lars (as Peter Votrian)

Runtime:

112 min

Country:

USA

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

USA:Approved (certificate #15971) | UK:U | New Zealand:G | Australia:G | Australia:PG (alternate rating) | Finland:S | Sweden:Btl

Filming Locations:

Samuel Goldwyn/Warner Hollywood Studios - 1041 N. Formosa Avenue, Hollywood, Los Angeles, California, USA

Company:

Samuel Goldwyn Company, The

Trivia:

Moira Shearer was to have played Doro, the prima ballerina, but had to withdraw when she discovered she was pregnant

Goofs:

Revealing mistakes: During the "Wonderful, Wonderful Copenhagen" song the concertina player directly behind the singer never moves his fingers on the keys.

Quotes:

[working on a beautiful ballerina's shoes]
Hans: I almost wish she'd asked me for something really impossible.

Movie Connections:

Referenced in Heart & Soul: The Life and Music of Frank Loesser (2006) (TV)

Soundtrack:

The King's New Clothes

A sugary children's movie? -actually, it's rather daring

Every single biopic of a creative artist tells the same story, whether it's true or not: the Philistine World, or some part thereof, rejects the artist, and fails to see his greatness; but later on, perhaps during his lifetime, perhaps not, it sees the error of its ways. That happens here. Hans Christian Andersen is a village cobbler whose compulsive inventiveness is little thought of until he makes good in Copenhagen, after which...

But there's much more going on.

There's no doubt that Andersen was a great artist, in some sense. `The Ugly Duckling' and `The Emperor's New Clothes' are two of the greatest short stories - fables, folktales - all of these - ever composed. But he had his limitations. There were many kinds of stories he just couldn't write. His fertile talent for anthropomorphising was often a millstone. In many respects he seems to have been a childish and naive man. But get this: all of these limitations make it onto the screen. Both the story and Danny Kaye's performance (a great performance) make Andersen into a human being who is NOT the greatest storyteller since Shakespeare, but who can be admired for what he is.

The main story isn't the `unrecognised genius' bit: it's a story of unrequited love. While in Copenhagen Andersen spends most of his time banging his head against the wall over an unattainable ballerina, whose interest in him is, as they say, purely professional. He manages to be quite cruel to a close friend in the process, right up to the point where it's unclear that a reconciliation is possible. (Indeed, it's unclear whether or not one occurs.) When he realises what a fool he's been he just trudges back, defeated, to his village. And it's here we have the obligatory scene where the villagers realise how great he was after all, mainly by singing the highly memorable refrains of the movie's songs, one after the other. Well, the film needed some ending. I'm inclined to forgive this one.

There's also a lengthy Little Mermaid ballet - seven minutes long? more? - danced in its entirety. (We see a LOT of the ballerina's craft in Copenhagen.) This sort of thing wasn't too unusual in the 1950s but it's a genuine gamble in context - and one that I think pays off. By the time the ballet appears the cheery story of an eccentric village storyteller had become surprisingly dark. Vidor, it seems, would rather risk having people leave the cinema than insult those who remain. Good for him. I can't claim that this film works in every respect, and perhaps you won't like it, but I'm sure you won't feel cheated by it.