All language subtitles for Red Shoes english

[Crowd clamoring, muffled]

- [Man] Open the door!
- [Man 2 shouting]

[Clamoring continues]

They're going mad, sir. It's the students.

[Man] Down with tyrants!

[Crowd cheers]

- All right, let them in.
- [Man] Open the door!

[Students shouting]

[Chattering, shouting]

- Swine!
- Beasts!

- [Woman] Into the valley of death!
- Into the jaws of hell!

Hey, hey. Ease up.

You're sitting on my cloak.

Filling up down below?

- Not a sausage.
- Not a tiara.

- Ah, here you are, Terry.
- Thank you.

[Musicians tuning instruments]

[Tuning continues]

- I can't see him anywhere.
- [Woman] Programs.

- Oh, two, please.
- One here.

Thanks, pal.

- Quite a turnout down below.
- Mmm.

Old Palmer's music had better be good.

Boronskaja would hardly be dancing
the leading role if it wasn't.

Boro who?

Who exactly is boronskaja?

Since you've stood in a queue
for six hours

waiting to see her dance,
I should have thought...

Not to see anybody. To hear.

[Terry] Have you ever heard
of professor Palmer?

- Never.
- Never.

You will.

The program says "heart of fire —
Music by Andrew Palmer."

Our professor at the academy.

So boro what's-her-name
had better be good.

She is hardly likely to be anything else.

- There he is.
- [Man] Palmer!

[Students shouting] Palmer! Palmer!

[Shouting continues]

Lermontov! Lermontov!

[Students cheering, shouting]

- [Bows tapping]
- [Audience applauding]

- [Man whistles]
- [Students] Livy! Livy!

- Good old livy!
- Good old livy!

We know him.

[Orchestra starts playing]

- Do you remember my "scythian rhapsody"?
- Forget it.

That's it, your rhapsody.

- That's the maestoso to it.
- Must be an accident.

- Did you show him your rhapsody?
- I show him all my work.

- You don't think that he lifted it?
- Of course not.

Shh!

[Orchestra continues]

She's a great patron of the arts.

Vicky.

Vicky.

Vicky.

Lermontov's coming.

- I say, that's yours too, isn't it?
- Yes.

- [Music stops]
- [Applause]

[Orchestra resumes]

- Steady on, old boy.
- [People shushing]

- Well, what are you waiting for?
- [Shushing]

- [Man] Quiet.
- Please let me through.

- Please, do you mind?
- [All grumbling, shushing]

Oh, really!

[Chattering]

Ah, dear professor Palmer.

We're all very proud of you,
and I hope you're very proud of yourself.

You're too kind.
Lady neston, monsieur lermontov.

- So we meet the great man at last.
- Enchanlé, madame.

Well, I never imagined
I should succeed in getting you here.

I think I must be a very clever woman.

[Chattering]

If some fat harridan
is going to sing, I must go.

I can't bear amateurs.

- Neither, as it happens, can lady neston.
- What do you mean?

She has, I believe, a niece
who dances professionally.

Hello, professor.
Now please don't get up, Mr. Lermontov.

Now, are you prepared for a surprise?

Do you mean a surprise,
lady neston, or a shock?

Well, to take the plunge,

I've asked my niece
to dance for us tonight.

- What would you call that?
- A shock.

Oh, well, you're —
You're certainly very candid.

You know, Mr. Lermontov,

I wouldn't dream of boring you
with the performance of an amateur.

My niece has been dancing leading roles
for some time now.

The critics think very highly of her work.

How would you define "ballet,"
lady neston?

Well... [chuckles]

One might call it
the poetry of motion, perhaps, or...

One might, but for me,
it is a great deal more.

For me, it is a religion.

And one doesn't really care
to see one's religion practiced

in an atmosphere such as this.

I hope you understand.

Attractive brute.

[Piano playing]

[No audible dialogue]

[Piano continues]

Mmm, I'll have
a champagne cocktail, please.

- Yes, sir.
- Champagne cocktail, please.

Yes, madam.

You know, at parties,
everybody's supposed to be very happy.

But perhaps you dislike them
as much as I do.

Still, as parties go,
I think it might have been worse.

- Do you?
- It very nearly was a great deal worse.

- Oh?
- Thank you.

We were, it appears, to be treated
to a little dancing exhibition.

But now I understand
we are to be spared that horror.

Mr. Lermontov, I am that horror.

Mmm. [Chuckles]

It's a bit late for apologies, isn't it?

Yes, a little late, I think.

All the same, I'm sorry.
I'm terribly sorry.

But you're not sorry I didn't dance,
are you?

- No.
- May I ask why?

-Well, because, my dear miss-miss —
-Victoria page.

My dear miss page,
if I accept an invitation to a party,

I do not expect to find myself
at an audition.

Yes, you're quite right.

Why do you want to dance?

Why do you want to live?

Well, I don't know exactly why,
but, uh... imust.

That's my answer too.

- [Piano ends]
- [Applause]

- Come with me.
- Where to?

- We are going to have a little talk.
- But I don't think I want to talk to you.

Don't you worry. I'll do the talking.

[Doorbell buzzes]

[Man shouting]
Can I see Mr. Lermontov now, please?

What is it, Dimitri?

It is a young man called craster.
He has been here a hundred times,

and a hundred times
I have told him you are asleep.

But he will not believe me.

Then either you are a very bad liar, or
Mr. Craster is a young man of good sense.

Show him in and serve breakfast.

Mr. Craster.

What can I do for you, Mr. Craster?

I'm-I'm sorry to bother you,
Mr. Lermontov,

but it's a matter
of very great importance to me.

Yes?

Last night, I wrote you a letter.

It was a silly letter, and I'd like to
have it back before you read it, please.

I see.

That's the one.

Unfortunately, Mr. Craster,
I have already read this letter.

Mr. Lermontov, please.

You are one of professor Palmer's pupils,

and you say you have written
a string quartet and a piano concerto.

Very interesting.
Would you care to play me something?

Something of your own, I mean.

Of course, if you — if you wish it.

This is a study I wrote for the piano.

But I'm thinking of orchestrating it

and putting it into an opera
I'm working on.

What, are you finished already?
That was very interesting.

I hope I haven't ruined your breakfast.

[Lermontov] By the way,

I need a new coach for the orchestra.

Would the idea interest you?

Would it interest...

I shouldn't be able to pay you
much money at first, of course.

Eight pounds a week and expenses.

It would be absolutely marvelous.

Right. Then get yourself some breakfast
and come over to covent garden.

Thank you.

And your letter, Mr. Craster.

If you take my advice...

You'll destroy it immediately
and forget all about it.

"The heart of fire" is your work,
isn't it?

You see, Mr. Craster, these things
mostly happen unintentionally.

-I know. That's why —
-that's why it is worth remembering

that it is much more disheartening
to have to steal

than to be stolen from, hmm?

Good morning.

[Vendors chattering]

[Man]
J' cherries so red, strawberries ripe j'

j' as / walk on, they'll be storming j'

j' never mind the abuse
you have the excuse j'

j' you went to go vent garden
in the morning j'

what a corker!

[Man] Sold already!

Of course I tried to get her.
Tried to get her twice. Ta-ta.

- Here you are, son.
- Right, governor.

Oi! You'll pardon me.

This is the way to the stage, isn't it?

- Name?
- Julian craster.

- What name?
- Julian craster.

Not on the list.

- Lunch, Irina?
- Yes.

- I have an appointment with Mr. Lermontov.
- I'm sorry. I've got my job to do.

It's not likely he would ask me to come
if he didn't want to see me.

- Good morning, George.
- Oh, bonjour, madame.

- How is madame George?
- Oh, she is la tresja/ouse.

Very ja/ouse. That bit of a photograph
we had took together. Compris?

Oh, here we are.

They've been looking all over London
for you this morning.

- Ah! Flut!
- That's what I said.

How much longer
do you expect me to go on waiting?

I'll send for the sm.

- What is your name, young man?
- Julian craster.

I have an appointment with Mr. Lermontov.

Julian cwes — cwes...

- Craster.
- Craster.

Well, George, if this young man is invited
by Mr. Lermontov, you can pass him, yes?

Ca va by me, madame. Ca va by me.

Follow me, young man.

-Est-ce que vous — -comment?

- Are you a dancer?
- Yes, at night.

Not very much in the morning.

- I don't know very much about ballet.
- You are artiste?

Yes, I'm a composer.

Ah, and you wish to see who?

Well, I'm afraid I'm not quite sure.

They are all there. Make your choice.

Excuse me.
Can you tell me who's in charge here?

No idea, mate. There's about five
or six of 'em that thinks they are.

- Can you tell me who's in charge here?
- Don't ask me anything, young man.

I'm just somebody's mother,

and that doesn't mean much around here,
I can tell you.

Can you tell me who's in charge here?

In charge of what?

Mr. Lermontov asked me
to come here this morning.

- Why?
- He's engaged me.

- Not as a dancer, I hope.
- No.

A/lons, mes entants! Au bou/ot!

And...

Well, Mr. Ratov,
Mr. Ljubov wants it moved.

It is on the plan, and there it stays.

Well, if you say so.

- Merci.
- Good morning, madame.

Ah, here comes
the great boronskaja at last.

And today, she's only 43 minutes late.

Am I supposed
to congratulate myself on that?

I tell you, Irina,
my Patience is at an end.

This time, I shall go to lermontov
and I shall explain to him

how no theater is big enough
to hold both you and me!

- I might as well start packing.
- Oh, there is no hurry.

After all, he might choose
to dispense with my services.

He is quite crazy enough.

But if we go, we go together,
grischa darling. Promise?

- Who are you?
- Victoria page.

I expect Mr. Lermontov
has spoken to you about me.

-He's invited me to come here —
-no, this is too much.

He invites them. I teach them.

I get rid of them. He forgets them.

And now, unhappy girl, will you please
go to the far corner of the stage,

where you'll meet five other young ladies

to whom Mr. Lermontov
has also extended his hospitality?

[Woman] Jacquie. Jacquie!

[Grischa] Encore!

[Man] Quiet, please!

I want to rehearse the first act
of heart of fire.

Will everybody not concerned
leave the stage, please?

[Man] Righto, boys. Stand back, what.

Hurry.

Is that so? Well, I agree.

[Rapping]

Where are you going, my dear?

I'm going to talk to Mr. Lermontov.

Don't you think it would be better
to wait until after the rehearsal?

Oh, no, that's all right.
You see, I know him personally.

Oh, well, that makes
all the difference, of course.

- Ratov!
- Yes, Boris?

No, stay where you are. I'll come up.

[Musicians tuning instruments]

Good morning, Mr. Lermontov.

- Good morning, ratov.
- Boris.

Look here, we must do something
about this foreground piece here.

The girls last night had hardly room
to move. Ljubov was right, after all.

-Aha, ljubov —
-ljubov is always right. We know.

- Do you really think so?
- Yes.

Well, well, well. Take it away.

Take it away.

Well, you see, my dear,
Mr. Lermontov is a very busy man.

Now, why don't you go
and wait over there with the others?

- Ivan, are you ready?
- Yes.

Yes, I will.

- Sergei sergeivitch.
- Yes?

Are you acquainted with either the works
or person of Julian craster,

composer and conductor?

Which proves, my dear fellow,
how sadly we lag behind the times.

For here he is in our midst. [Blows nose]

Lermontov has engaged him this morning.

[Piano playing]

Rond dejambe... e.

[Piano playing]

[Mutters]

Class dismiss.

[Orchestra practicing]

J' da-Dee-Dee-Dee-Dee
da-da-da-da-da-da, da-da-da-da-Dee j'

j' da-dum, Dee-Dee
da-da-dum, dum j'

j' da-Dee, dum j'

no, gentlemen. Figure 29, sing.

J' tee-ah, Dee... j'

I think that will do.

Thank you, gentlemen.

The brass could do
with your attention, craster.

Tomorrow.

[Musicians tuning instruments]

Gentlemen, I'm very sorry
to bring you here so early in the morning.

[Bassoon plays low note]

But I've been in front for this particular
ballet on more than one occasion

and I really must...

There are one or two things
I really must put right.

So, um, "heart of fire" overture, please.

From the beginning.

Oh, by the way, trumpets.

Uh, two bars before figure two.

Have you got an e-natural?

No, I've got an e-fiat.

Ah, makes all the difference, doesn't it?

It should be e-natural.
Right, from the beginning.

[Vacuum whirring quietly]

[Horns play]

Gentlemen, I know it's difficult to get
your lips set at this time of the morning,

but still we ought to be able
to come in together.

And even more pianissimo. Less strings.

"A," oboe.

- [Oboe blows note]
- [Instruments tuning]

From the beginning, please.

- That's nice.
- Mr. Craster!

Precisely what is going on?

I can only suppose that you've
taken leave of your senses.

Do you realize that by calling
the orchestra one hour early,

- that we shall have to pay them?
- [Musicians laugh]

And why are you rehearsing
"heart of fire"?

Did I ever ask you to do that?

- Tell me. I'm interested.
- Well...

I'm sure that Mr. Lermontov
will be interested too.

Well?

- I like it.
- You like it?

I have no doubt you also like the
national anthem and the "marseillaise."

I hope you're not thinking of summoning
the full orchestra at dawn

to practice those noble melodies.

[Musicians laugh]

Well, I leave this young man
to you, lermontov.

After all, he is your discovery, not mine.

Mr. Craster, I must ask you
to exercise in future

a little more control
over your natural ambitions.

Why you should have chosen "heart of fire"
for this early morning escapade...

- Good morning, gentlemen.
- [Orchestra members] Good morning.

Is a mystery
that I shall never hope to solve.

May I see that wrong note
in the score, please?

Mmm. However, there are
passages in "heart of fire"

which no one need be ashamed of.

[Julian] Thank you, Mr. Lermontov.

[Chattering]

Good morning, miss page.

Oh, good morning, Evans.
Is lord oldham with you?

Yes, miss.

Be careful, miss.

Good morning, Peter.

Oh, hello, Vicky. What are you doing here?

- What are you?
- I'm having lunch with Boris lermontov.

You know, the fellow
who runs the ballet here.

Oh. Business or pleasure?

Oh, a bit of both.
What about you, shopping or slumming?

Now don't you worry, grischa.
I'll bring her back at 3:00.

- How are you, madame?
- How are you?

Hello, Peter.
I hope we haven't kept you waiting.

No, not at all. Oh, Boris, I don't think
you've met a friend of mine.

- Vicky page.
- How do you do?

- Can we give you a lift anywhere?
- No, thank you, Peter.

Excuse me, miss page.

[Lermontov] Who? Victoria page?

Mmm... yes, she may dance.

[Classical music playing]

[Classical music continues]

[Music stops]

[Applause continues]

[Classical music resumes]

[Record scratches]

[Chattering]

Good morning, my dear young ladies.

I hope I find you all
very well this morning.

There are just one or two things
I would like to say to you today.

As you know, the ballet
is leaving on Saturday for Paris.

Now, I can't imagine
anything more enchanting

than being able to invite you,
all of you, to accompany us there.

But I'm afraid
this great pleasure must be denied me.

To those whom we must
regretfully leave behind,

I'd like to sayjust this —
Please, don't be discouraged.

The fact that we can't take you with us
doesn't mean that you are bad dancers.

It means that this year, unfortunately,
we haven't got enough room.

Now will you please step out,
miss Fane, and you, miss baynes,

and you, miss hardiman
and miss lovitt, please?

May I thank you four ladies very much
for the hard work you've done this year,

and I'm sure my gratitude
is echoed here by Mr. Ljubov.

[Grischa murmurs]

Yes, and maybe next year,
we shall be meeting you again.

Good morning.

[Woman] Vicky, he means us!

[Train whistle blows]

[Horns honking]

[Speaking French]

[Piano playing]

[Piano continues]

[Piano continues]

[Piano stops]

Listen.

Mes amis.

I am fiancee. I get married.

[Dancers gasp]

My dear child.

All my love and best wishes
for your happiness.

[Exclaiming, chattering]

Irina, my little horror,

I wish you the greatest happiness
with your new partner.

Merci, but grischa — where is grischa?

- I am here, Irina.
- Grischa darling, do you hate me?

I could never hate you, Irina,
but how can I ever forgive you?

Ah, you will forgive me. That I know.

Don't quarrel with your poor husband

as much as you've quarreled
with your conductor.

But where is Boris lermontov?
He has nothing to say to me?

Boris!

He has no heart, that man.

- [Vehicles passing, muffied]
- [Whistle blows]

[Knocking]

Entrez.

Mr. Craster, I have a job for you.

Do I understand you have not been
altogether very happy with us so far?

-Well, I — -well what?

Well, coaching an orchestra is not exactly
a young composer's dream, is it?

I'm afraid the job I have for you

may not be exactly
a young composer's dream either.

All the same, I hope you do not consider
it entirely unworthy of your talent.

The ballet of the red shoes
is from a fairy tale by hans...

[Continues, indistinct, echoing]

Red shoes.

Oh, I beg your pardon.

The ballet of the red shoes
is from a fairy tale by hans andersen.

It is the story of a girl
who's devoured by an ambition

to attend a dance in a pair of red shoes.

She gets the shoes, goes to the dance.

At first, all goes well
and she's very happy.

At the end of the
evening, she gets tired...

And wants to go home.

But the red shoes...

Are not tired.

In fact, the red shoes are never tired.

They dance her out into the streets.

They dance her over
the mountains and valleys,

through fields and forests,
through night and day.

Time rushes by.

Love rushes by.

Life rushes by.

But the red shoes dance on.

- What happens in the end?
- Oh, in the end, she dies.

- Yes, I remember.
- The music was written by Felipe bertran.

He did it for us last year
during our south American tour.

You'll find here some passages
marked with a blue pencil.

They are bad,
and I would like to see, Mr. Craster,

what you can do in the way
of a little, uh... rewriting.

- Oh.
- You can take your time.

- There is no hurry.
- Thank you.

- [Knocking]
- [Man speaking French]

[Lermontov] Oui je viens.

Thank you.

[Orchestra playing]

Ah, look at our boronskaja.
She's in wonderful form tonight.

I'm not interested
in boronskaja's form anymore,

nor in the form
of any other prima ballerina

who's imbecile enough to get married.

Oh, come now, Boris.

She's out, finished.

You cannot have it both ways.

The dancer who relies upon
the doubtful comforts of human love

will never be a great dancer.

Never.

That is all very fine, Boris,
very pure and fine.

But you can't alter human nature.

No? I think you can do
even better than that.

You can ignore it.

[Man on pa speaking French]

[Speaking French]

Boris.

Well, Irina, now you'll be able
to sleep as long as you like

and eat sweets all day,

and go to parties every night.

And you, now you will be calm.
The class will start on time.

No more shouting.
No more hysteria backstage.

-No more — -no more Irina.

-[Whistle toots]

[shouting]

Ah, monsieur lermontov. [Speaking French]

Miss page.

Are you very tired?

Yes, thank you.
I mean, I'm not very tired.

Messieurs, je vous presente
miss Victoria page.

Monsieur boudin,
/e directeur general de /'opera.

- Mes hommages, mademoiselle.
- Monsieur rideaut, /e regisseur.

Enchante, mademoiselle.

You have already visited monte Carlo,
mademoiselle?

Yes, I was here last season with my aunt.

Oh, then you know the hotel de Paris,
mademoiselle?

Yes, but I believe I'm staying...

[Lermontov] Hotel de Paris.
You'll be very comfortable there.

La voiture de monsieur lermontov
vous attende, miss page.

Bonsoir, mademoiselle.

Montez, mademoiselle.

[Man singing opera]

[Julian] You look dressed up
for a conference.

Hello. Is there a conference on?

Yes. They're all arguing in there.
I've been here since 7:00.

Oh, there you are, miss page.
Will you come in here, please?

I was just going out, Mr. Lermontov,
when I got your message.

Miss page.

I have asked you to come here tonight
because we are preparing a new ballet

and I've decided to give you a chance

and let you dance
the principal part in it.

But there's one thing
I must tell you at once.

My belief in your possibilities
is not shared by my colleagues here.

However,
it is hardly necessary for me to add

that, whatever
their personal belief may be,

they will all give you their best.

The rest, of course, is up to you.

Well, miss page, that's all.

We shall start work
early tomorrow morning.

I suggest you now forget all about
your party and go straight home to bed.

Yes, I will.

And, miss page?

Good luck.

Thank you.

- [Piano playing]
- Well, what happened?

I've got a part in a new ballet.

- [Piano continues]
- A new ballet? What ballet?

The red shoes!

Now listen to this, Mr. Craster.
It is impossible.

Well, I couldn't rewrite that bit,
could I?

- Why not?
- You didn't blue-pencil it.

Horrors like that don't need
to be blue-penciled.

They speak for themselves.

Well, as a matter of fact,
I did have some ideas about that.

Where are they, my dear fellow?
We need a score.

If you'll allow me.

Well, it's the church scene.

Let's get rid
of this sentimental hymn tune

and take a foursquare chorale.

Something like this.

Then, I thought, all the way through,
we might have a church bell coming in.

All of a sudden, the strings...

[Vocalizing]

Then as the priest appears,
it's taken up with the brass.

J' bum, bum, bum-bum-bum j'

shall I play you
"the dance of the red shoes"?

[Lermontov]
Thank you, Mr. Craster. Thank you.

This time, I want you
to change everything.

I want a new score.

There you are, Mr. Lermontov.

And where's the orchestration?

- When do you want it?
- Yesterday.

You said you wanted to work, didn't you?
Then go home and work.

I don't want to see your face anywhere
until you've finished it.

You won't!

[Band playing slow dance music]

[Music continues]

Why aren't you in bed?

- Oh, you gave me quite a fright.
- I meant to.

Why aren't you in bed?

I was ordered to,
but I was much too excited to sleep.

- So here I am.
- Are you?

- I haven't seen you.
- Thank you.

By the way, you haven't seen me either.

Has he sent you to bed too?

No, I'm just working on the score
of my new ballet, the red shoes.

Is that my ballet too?

Yes, I suppose it is.

[Train whistle blowing]

[Train approaching]

I wonder what it feels like
to wake up in the morning

and find oneself famous.

You're not likely to know
if you stay here talking much longer.

So, good luck.

Good luck.

[Whistling]

[Piano playing]

She's putting too much into it.

Why don't you tell her, grischa?

Mind your own business.

She has to dance with me
at the dance at the fair before this.

And the big stuff still to come.

She can't dance everything full out.
She ought to know that.

How do you expect her to know it,
Ivan ivanovitch,

if you never once dance full out yourself
before the opening night?

Here are the designs
for the costumes, Boris.

One moment. Sit down, will you, please?

I'm so sorry, Mr. Ljubov. Something
will have to be done about the music.

She starts the pirouette a beat too early.

The tempo's wrong. It's too fast.

- It's the right tempo.
- Of course.

Once more!

- She'll be all right.
- [Piano resumes]

I hope so.

Still unconverted, Sergei?

Well, of course,
she's a charming girl, but...

Oh, I know nothing about her charms,
and I care less.

But I tell you,
they won't wait till the end.

They'll applaud in the middle.

[Laughing] Oh, come now.

Sergei, I'll take a bet.

Oh, enough, enough!

Miss page, we are trying
to create something of beauty.

Might I suggest that while you continue
to wave your arms like a scarecrow

and bend your knees
like an old cart horse,

we are unlikely to succeed?

Well, well, it's a bet.

[Laughing]
Come on, let me see your sketches.

The girl. [Laughs]

[Grischa] Dejeuner.
Rendez-vous a deux heures.

[Speaking French]

Monsieur ljubo v est UN animal.

[Speaking French]

[Vicky sighs]

- Do you still think I can do it?
- [Chuckles]

Well, at the moment, you look as if
you are finding it a little difficult.

But when we open in two weeks' time,

I hope you'll appear to be finding
the whole thing supremely simple.

And don't forget,
a great impression of simplicity

can only be achieved
by great agony of body and spirit.

- Voila.
- Uh, uh, uh, uh, uh.

You don't want to ruin
your breathing, do you?

And from today, I've arranged that you
shall have your lunch in my office.

Craster.

[Men speaking French]

Now, will you sit over there, please?

- [Speaking French]
- Merci. Mr. Craster, at the piano.

Do you usually have
a musical accompaniment

to your meals, Mr. Lermontov?

No, miss page, I do not.

But I'm afraid this is going to be
your fate for the next two weeks.

[Piano playing]

Mr. Craster is going to play
the red shoes music for you

at every lunch, tea and dinner
you take until we open.

I see.

Yes. In this way, you should become
quite familiar with the music.

Yes, I think I probably shall.

The music is all that matters.
Nothing but the music.

Huh? Mr. Craster?

- Certainly.
- Bon appetit.

- , 4 votre service, mademoiselle.
- Merci.

Some composers specialize
in lunchtime music, don't they?

Some.

You?

In my time.

Look, do you mind not playing that
just at the moment, please?

It's the right tempo.

Let's take the ballroom scene.

That's the most digestible
part of the score.

The ballroom's out. It's been cut.

Cut as a scene,
but it's still there in my score.

I wrote this dance for a ballroom.

Anyone who understands anything
about music will see a ballroom.

Even lermontov will see a ballroom.

Even you.

And when you're lifted up into the air
by your partner,

my music will transform you.

Into what?

A fiower swaying in the wind.

A cloud drifting in the sky.

A white bird fiying.

Tell that to ratov.

He would love your birds and flowers.

- You don't?
- If you were a dancer, you'd know...

Just a minute.
Nothing matters but the music!

And it's hard enough
to get off the ground anyway

without being a bird or a flower.

Aren't you going to imagine anything
on the first night?

Yes, a wall between me and the audience.

[Resumes playing]

My music will pull you through it.

[Loud chord]

[Orchestra playing]

[Julian] Tia!

Miss page, I am not a circus conductor,
and you are not a horse.

- It's too fast.
- You would not find it too fast...

Both of you!

You would not find it too fast
if you would allow the slow passage

to come to an end
before you start your pirouette.

My downbeat marks a pause.

We understand it, don't we, gentlemen?
N'est-ce pas?

- You come in on the second beat.
- Impossible.

One, two. Tia, Tia!

It's quite simple.

- You see this Baton?
- Yes.

Well, follow it!

Oh!

[Musicians tuning instruments]

[Women chattering in French]

[Knocking]

- Good luck.
- Good luck.

Vicky. Vicky.

Dance whatever tempo you like.
I'll follow you.

- All right, Ivan.
- [Groans]

- Time to go down, craster.
- Good luck, Mr. Craster.

- Thank you, Mr. Lermontov.
- Nervous?

- No.
- Come on!

Do I...

What the devil have you got
to worry about? It's a fine score.

- Is it?
- A magnificent score.

I only wish I — go on.

- [Bows tapping]
- [Audience applauding]

[Audience quiets]

[Orchestra starts playing]

[Speaking French]

[Shouting in French]

- Grischa.
- Tout est dans /e chaos, Boris!

Chaos, chaos, chaos!

- Grischa.
- Oh, Boris!

Mon dieu! The red shoes!

- What?
- The red shoes are not there!

Monsieur rideaut, what have you done
with the red shoes?

-Mais, monsieur ljubov —
-don't waste your time. Where are they?

Are you sure you haven't
hidden them yourself?

No, no, no, no. Yes! Fool, fool!

Monsieur lermontov!

Miss page est dans UN etat.
Elle est si nerveuse.

Oh! Ca a/ors!

Boris, look here.

- Elephants. Clumsy elephants.
- Shh.

- They have ruined my decor.
- Calm yourself, Sergei.

But the door, the door. It won't shut.

- Then somebody must hold it.
- Who? But who?

The call boy will have
nothing to do then anyway.

- Dimitri, get the call boy.
- Give it to me. Hold the door.

- Best of luck, miss page.
- I can't even remember my first entrance.

Oh, you mean you think
you can't remember it.

What about this? [Humming]

Yes, that's it.
It's all right when I hear the music.

Since you are undoubtedly
going to hear the music,

it's undoubtedly going to be all right.

The music is all that matters
and nothing but the music.

If I had any doubts about you at all,
I should be nervous.

- Am I nervous?
- No.

You're not dancing for an audience.

You are dancing for ljubov,
ratov, myself...

People for whom you've been
dancing many times before.

I believed in you from the very beginning.

But now everybody does.

I want you to dance tonight
with the same ecstasy

I've seen in you only once before.

At the Mercury theatre?

Yes, at the Mercury theatre in London,

on a wet Saturday afternoon.

- Forty seconds.
- Coming.

Good luck, my dear.

You're a magician, Boris, to have produced
all this in three weeks, and from nothing.

Not even the best magician in the world
can produce a rabbit out of a hat

if there isn't already a rabbit
in the hat.

- [Music ends]
- [Audience applauding]

It's a pity the theater only holds 300.

We could have filled
the Albert hall tonight.

Yes, but what we are creating tonight,

the whole world will be talking of
tomorrow morning.

Good boy.

[Orchestra playing]

[Audience applauding]

[Audience cheering]

[Bells chiming]

[Audience applauding]

[Applause and cheering continue]

[Grischa whistling]

[Whistling stops]

[Whistling resumes]

[Holds note]

Ca va?

Any swelling? I mean the head.

All that clapping, bravos, roses.
Poof! All that's nothing.

But when I, who have seen
pavlova, karsavina dance,

tell you that last night
you were not bad...

Not good, but not bad...

That's something.

Now I tell you truth. It was... good.

- Thank you, Mr. Ljubov.
- My name is grischa.

- Mine is Vicky.
- How do you do?

Arm straighter. So.

Boris lermontov wants to see you.

Why in class time? Why?

[Chattering]

[Snaps fingers]

Silence!

- More cables, Boris lermontov.
- Hello, hello?

- Yes. Who is it? Oh, it's you!
- Monsieur lermontov...

Une seconde. Je vous en prie.
No, no, no. It's fine.

Thank you so much for ringing me.
You are not disturbing me at all.

- I always have time for congratulations.
- Monsieur lermontov...

[Speaking French]

-Oh, yes, I agree. The music —
-[Snaps fingers]

- [Speaks French]
- Monsieur lermontov...

- A most distinguished score.
- [Speaks French]

[Speaking French]

- Monsieur craster?
- 0ui.

- [Speaking indistinctly]
- Yes. Of course he's under contract to me.

Yes. He's going to.
He's starting on a new ballet.

Right away. Full of gaiety and charm.

La belle meuniere, book by Marcel lucien.

Go away.

Yes. Oh, yes.
It's a wonderful role for her.

- Au rel/oil; Lermontov.
- Au re voir, chere madame.

- Not this season. Next season.
- [Speaking French]

Au re voil; Monsieur.
Merci beaucoup. Merci beaucoup.

Yes, it was very kind of you to ring me.

Thank you so much again.
Thank you very much.

No more calls. Not even congratulations.

[Speaking French]

Where are the Paris papers?
Thank you very much. Here.

[Speaking French]

Well, Mr. Craster, that's all.
Thank you very much. I am proud of you.

Mr. Lermontov, I would like to tell you...

Some other time, Mr. Craster,
I beg of you.

Ah, yes. La belle meuniere.

- Do you read French?
- Yes.

Read it, and we'll have a talk
about it some other time.

Goodbye.

[Woman] Mademoiselle page.

Come in, miss page. Come in. Sit down.

I want to talk to you about your future.

When we first met at lady neston's,

you asked me a question
to which I gave a stupid answer.

You asked me whether I wanted
to live, and I said yes.

Actually, miss page,
I want more, much more.

I want to create, to make something big
out of something little...

To make a great dancer... out of you.

But first, I must ask you
the same question.

What do you want from life?

- To live?
- To dance.

We have two months left
of the season in monte Carlo.

Not much time, but enough, two months.

Then we go on tour.
Rome, Vienna, Copenhagen,

Stockholm, then america.

Then next year, London again.

All the big parts for you.
Coppe/ia, lac des cygnes, Giselle,

the sleeping Princess,
les sy/phides, la boutique.

We will create them all afresh with you.
You shall dance.

And the world shall follow.
You shall — [shushes]

Not a word. I will do the talking.

You... will do the dancing.

[Orchestra playing]

[Exclaims, speaking French]

Ah! Victoria page.

[Speaking French]

- Good night, Boris.
- Good night, grischa.

- She was not bad tonight.
- She'll be all right.

All right? Not bad?

But she's a flame, a spirit! Une coryphee!

- [Whistling]
- Still not enough, grischa?

- Good night, Boris.
- Good night, Sergei.

Vicky was wonderful in boutique.

Just a little dresden shepherdess.

[Man] We should reconstruct the theater.

- What's wrong with the theater?
- It's too small.

- Good night, lermontov.
- Good night, livy.

- Her timing's a miracle.
- Keep her up to it.

[Orchestra music playing]

- Good night, Boris.
- Good night, grischa.

- Good night, Boris.
- Good night, Sergei.

- Good night, Mr. Lermontov.
- Good night, Vicky.

[Orchestra playing]

- [Door opens]
- Good night, Boris.

- Good night, Sergei.
- [Door closes]

Eh, thank you, monsieur boudin.
That's all.

- Good night, Boris.
- Good night, grischa.

- Boudin.
- 0ui?

Tell me, which is esteemed to be the very
best restaurant this year on the coast?

- La reserve.
- 0ui oui. La reserve.

- Good night, lermontov.
- Good night, livy.

Book me a table.

- For... two?
- Yes.

[Speaking French]

- Julian.
- Yes?

I never said good night to lermontov.

Monsieur Dimitri?
No, miss page has still not come in.

[Speaking French]

Monsieur ratov? Uh, not here either.

Monsieur ljubov? 317 — no.

[Speaking French]

Ah, monsieur Dimitri, I have just heard.

They've all gone to supper at the old port
at villefranche with monsieur ljubov.

C'est son anniversairel his birthday.

- [Accordion music playing]
- [People chattering, laughing]

[Woman] Formidable!

- [Grischa speaking French]
- [Cork pops]

- Voila!
- [All cheering]

[Laughing] Mes chen's!

[Man] Just pour the wine.

[Speaks French]

- Voici /e gateau!
- Voila!

[Speaking French]

[Vehicle approaching]

- [Engine stops]
- Boris lermontov!

[All exclaiming]

Good evening, grischa.
Am I permitted to join your party?

Get me a chair!
What a pleasure, Boris! Oue/lejoie!

A chair for Boris lermontov!

Two chairs for Boris lermontov!

Make way there. A throne!

A throne for the great boleslawsky.
Take mine, lermontov.

- Oh, no. Take mine.
- No, you sit down. It's your birthday.

Sit down.

Well, it seems a long time since I sat
down to supper with my entire family.

Thank you.

But it appears that the great miss page
is not with us tonight.

Don't you miss another member
of our happy little family?

No. No. I can't say I do.

Why should you? You're a busy man.
Have a drink, lermontov!

Grischa. A ta sante.

Of course we all know
you're a busy man, Boris lermontov,

but do you mean to tell me
you have noticed nothing?

Oh, don't exaggerate.

Boris, we have a little romance
in our midst.

A great romance!

Romeo craster!

And Juliet... page.

And when... did this great romance begin?

[Grischa] With the red shoes.

Charming.

And where have they taken
themselves tonight?

What does it matter where they have gone?

They are young, they are together,
and they are in love.

- Darling.
- Mm-hmm?

I've decided I do believe
in destiny after all.

Do you, my darling?

I'm very glad.

Cocher.

Cocher.

- You'll wake him.
- But I want to know where we are.

Cocher. Co...

One day when I'm old...

I want some lovely young girl
to say to me...

"Tell me, where in your long life,
Mr. Craster, were you most happy?"

And I shall say, "well, my dear,

I never knew the exact place,

but it was somewhere on the mediterranean.

I was with Victoria page."

"What?" she will say.

"Do you mean the famous dancer?"

I will nod.

"Yes, my dear, I do.

But then she was quite young,

comparatively unspoiled.

We were, I remember...

Very much in love."

[Orchestra playing]

Did you see that?

She smiled at craster.

I don't think so.

I suppose you'll be sending me
to an oculist next.

- Watch her dancing.
- With pleasure.

A debutante at a charity matinee.

Yes. Yes!

Yes, all right. Thursday.

Uh, good evening, Mr. Lermontov.

I'm afraid the score is still a bit rough,
but I see you've had time to look at it.

Yes, Mr. Craster.

I have looked at it.

However, it is not about your music
that I wish to talk at the moment.

So to come to the point, what is all this
I hear about you and miss page?

Oh, I see.

-Could Dimitri — -get out.

Well, Mr. Craster?

[Door closes]

Yes. We're in love.

I see.

Did you see miss page's performance
in Lao des cygnes?

I was conducting.

Did you enjoy it?

I think it was the loveliest thing
I've ever seen in my life.

It was impossible.

And do you know why it was impossible?

Because neither her mind
nor her heart were in her work.

She was... dreaming.

And dreaming is a luxury
I've never permitted in my company.

Miss page wants to be a great dancer.

Perhaps she has spoken to you
about her... ambitions?

Oh, yes.

She's not, however, a great dancer yet.

Nor is she likely to become one
if she allows herself

to be sidetracked by idiotic fiirtations.

Mr. Lermontov, you... don't understand.

We really are in love.

And, Mr. Craster,

I have had time to look
at your latest effort...

Yes?

And find it equally impossible.

That's not true. It's good.

Childish, vulgar
and completely insignificant.

In that case, I'll relieve you of it.

There are, of course,
so many first-class ballet companies

to which you may take it with advantage.

I don't know that it's my greatest
ambition to work for the ballet.

Some of us think it's rather
a second-rate means of expression.

- [Woman] Oui, monsieur lermontov?
- Mr. Craster's leaving the company.

Pay him two weeks' salary
and get the receipt.

Spotlight! Sur moi.

Toujours sur moi.

Oh, hello, Boris.
I was just coming to say good night.

- Good night.
- Is anything the matter, Boris?

No, no. But before I forget it,
don't do any more work on the new ballet.

- I decided to scrap it.
- Scrap it?

What do you mean? I've worked out
half the choreography already.

That boy Julian is really gifted.

It's one of the finest scores we ever had.

Julian craster is leaving the company,

and I don't wish
to discuss the matter any further.

Oh, you don't? Well, I do!

Do you think I don't know
a brilliant score when I hear one?

Do you think I've been working
day and night for weeks

for the pleasure of being told
I am wasting my time?

I tell you, Boris,

I've had enough
of this fantastic lunatic asylum!

I am through with it! I resign!

I think you've made
a very important decision.

[Band playing slow dance music]

[Chattering, laughing]

Hello, you two. Isn't love wonderful?

Bonsoir, Julian.

Well, what did he say?

Ah, of course he doesn't
really want you to go, grischa.

He is very sorry.

Well, in that case,
I will... think about it.

- What about Julian?
- [Sighs]

I have never seen him
quite as bad as this.

He talked a great deal
about ingratitude and, uh, disloyalty

and he said when personal relations
started to inter...

Yes, I know that bit.

My dear children, I'm very sorry.

Boris may feel different in the morning.

In the morning,
he's leaving for Paris by the 8:15 train.

Has the famous miss page
come to see me off?

I'd like to talk to you.

I want you to tell me
why you've quarreled with Julian.

There's only three minutes.

May I suggest, miss page, that
such matters are hardly your business?

However, since you've gone
to all this trouble...

Mr. Craster's been unwise enough
to interfere with certain plans of mine.

And that is something I do not permit.

I thought once, Mr. Lermontov,

that there would be no room in my life
for anything but dancing.

You will think so again, my dear.

But if Julian goes, I shall go too.

And what exactly do you intend to do?

- I shall dance somewhere else.
- Oh, yes.

That won't be very difficult
with the name I've given you...

Always provided I release you
of your contract.

But even if I do,
will it be quite the same?

I have never pretended to myself
that it would.

I could make you
one of the greatest dancers

the world has ever known.

Do you believe that?

Yes, I do.

And all that means nothing to you?

- [Whistle blows]
- You know exactly what it means to me.

[Conductor shouting in French]

- [Knocking]
- [Dimitri] The train is leaving.

Goodbye, Mr. Lermontov.

Miss page is coming!

[Vicky] Julian! Julian!

I'm coming with you!

Hooray!

[Vehicles passing]

[Vehicle horns honking]

[Doorbell buzzes]

Come in.

You are late.
I hope you didn't work too hard.

All finished.
I have the injunction with me.

Boris, don't tell me
you've changed your mind again.

[Chuckles]

I — I don't want
to stop her doing anything.

She can dance when and where she likes.

- Except the red shoes.
- What about the boy?

That's different. Everything he's written
while under contract to me is mine.

It's in the contract. The red shoes
and his work so far on la belle meuniere.

I am not interested
in anything else he may write.

But if you keep the red shoes
in the repertoire,

you'll have to pay him royalties.

The red shoes is no longer
in the repertoire!

I understand Patrick trevelyan
is in Paris.

Yes. I dined with them both last night.

Oh? Boronskaja is with him?

Yes. Anything I can do?

How's the marriage? A success?

Patrick seems to think so.

Would you like me
to arrange a meeting with Irina?

Not arrange.

By chance.

[Horn honks]

[Dog barking]

Oh, Boris!

[Orchestra playing]

- Good night, Boris.
- Good night, Irina.

[Door closes]

- Good season?
- With the ballet lermontov, always.

- [Door opens]
- Good night, Boris.

Good night, Sergei.

- Sergei!
- Yes?

- Would you come in and wait a minute?
- Yes, of course, Boris.

- Good night, Boris.
- Grischa, please come in and wait.

Ah. Conference.

[Sergei exclaims]

Letters.

- Nobody writes to me.
- That's not true.

Yours, from Vicky.

- [Grischa] From Vicky?
- Mm-hmm.

- How is that girl?
- Read it and you'll see.

And this is from Julian.
It's all about his new opera.

He describes the whole structure.

Enormous talent, that boy.

He says...

She's an inspiration...

[Sighs] ...A miracle.

Thank you, Mr. Boudin. That's all.

-Merci. Bonsoir, -good night.

[Lermontov] Well, I see it's mail day.

[Sergei] From our two young rebels.

Deserters.

I hope they're happy.

- Read, Boris.
- Yes, read this too.

It might make you sorry
to have lost that young man.

By the way, that reminds me.

Jacques sent me the new score
of la belle meuniere.

I like it, and I'd like you all
to hear it at once.

- We might open with it in London.
- With Irina?

We can discuss that.

The part is light, all gaiety, fire.

Perhaps you would be good enough
to glance through it.

And no prejudice, please.

I hope you say it to yourself sometimes.

Every day. Eh, good night, children.

- Good night.
- Good night.

On second thought, I think
I would like to read those letters.

My letter was only meant to be read by me.

- See you later, Boris.
- Good night, Sergei.

I could hardly let him read it.

She calls him a monster...

A gifted, cruel monster.

[Laughs] You should have told him that.

[Woman singing opera]

[Woman singing opera]

[Singing continues]

[Piano playing, muffied]

[Piano continues]

[Resumes playing]

[Door opens]

I am sorry to be late, Boris lermontov.

Lady neston was in front tonight.

She arrived this morning.
She is staying for several weeks.

And miss page is joining her next week
for a short holiday.

[Knocking]

We seem to be destined
to meet at railway stations.

- [Woman] I/ite! I/ite!
- What are you doing in cannes?

Waiting for you, of course.
Won't you sit down?

[Engine chugging]

But you know, my dear Vicky,

how I'm always looking for great dancers.

We all have missed you,

and I was hoping that by now you would
have started to miss us a little.

I have.

You only have to say the word.

- How is everybody?
- Including me?

- Including you.
- Never better.

- How is grischa?
- Always fighting with boronskaja.

- And she?
- Always fighting with grischa.

- And how is old Sergei?
- Getting younger.

- And you?
- Getting older.

And you? You are happy?

Yes. Very happy.

As a dancer, I mean.

I haven't danced very much, you know.

Oh, I know, I know.
I know every time you have danced.

- But you never stopped working.
- No.

- And you never stopped going to class.
- Never.

And why isn't he with you?

His opera has been accepted
at covent garden. It's in rehearsal now.

- Would he give it up if you ask him?
- I don't know.

- You do know.
- I wouldn't ask him.

Then why is he asking you?
Does he know what he's asking?

We are preparing a new ballet.

We've been working at it for weeks.

The costumes and the decor are the most
beautiful things ratov has ever done.

Grischa is full of enthusiasm,
and you know what that means.

Nobody else has ever danced
the red shoes since you left.

Nobody else ever shall.

Put on the red shoes, Vicky,
and dance for us again.

[Male radio announcer]
This is the BBC third programme.

I am speaking from the royal opera house,
co vent garden, London.

Tonight is the first night
of cupid and psyche,

a new opera by a young British composer,
Julian craster,

whose only well-known work until now

has been the score
for the ballet the red shoes.

The red shoes was a great success

when produced at monte Carlo last year
with the ballet lermontov,

but has not yet been seen in this country.

0h, something must have
gone wrong, I'm afraid.

I think somebody is going to
make an announcement.

[Man] Ladies and gentlemen,
I regret to announce

that Mr. Julian craster, the composer,

who was to conduct his own opera,

has been suddenly taken ill.

Sir hart/e y menges
will conduct in his place.

[Announcer]
Here comes sir hartley menges now.

I'll announce the names of the cast
during the interval.

[Door closes]

[Speaking French]

All the way down from London,
I wondered if I'd find you here.

And here you are.

You left your first night?

- Yes.
- Oh, Julian.

Why didn't you?

[Crying] I'm lost without...

I'm all right now, my sweetheart.

There's a train going to Paris at 8:00.
We'll be on it together.

Better hurry up and get changed.

- But I'm dancing tonight.
- Walk out.

Good evening, Mr. Craster.

Won't they be missing you
at covent garden tonight?

[Speaking French]

Oh, for god's sake,
leave me alone, both of you!

Please, Julian.
Wait until after the performance.

It'll be too late then.

You are already too late, Mr. Craster.

Tell him why you've left him.

- I haven't left him!
- Oh, yes, you have left him.

Nobody can have two lives,
and your life is dancing.

Vicky, you could dance
anywhere else in the whole world.

Would you be satisfied
with anything less than the best?

If you would, you would never be
a great artist. Perhaps you never will.

And would you make her
a great dancer as well? Never.

Why do you think I've waited day after day
since you snatched her away from me

for a chance to win her back?

- Because you're jealous of her.
- Yes!

I am, but in a way
that you will never understand.

[Both speaking French]

[Julian] Well, Vicky?

I love you, Julian. Nobody but you!

[Sobbing]

- [Julian] But you love that more.
- [Woman singing opera]

I don't know! I don't know!

If you go with him now,
I will never take you back. Never!

Vicky, do you want to destroy our love?

Adolescent nonsense.

All right. Go, then. Go with him.

Be a faithful housewife

with a crowd of screaming children
and finish with dancing forever!

[Julian] Vicky, look at me.

Goodbye then, my darling.

Julian! Jul...

Monsieur lermonto v,
peut-on commencer a /'ou venure?

- 0ui. Commencer.
- Bon. Bon.

[Speaking French]

- Vicky.
- [Sobbing]

Vicky.

Little Vicky.

There it is, all waiting for you.

Sorrow will pass, believe me.

Life is so unimportant...

And from now onwards, you will dance,

like nobody ever before!

- [Speaks French]
- [Whimpering]

- [Opera singing continues]
- [Speaking French]

[Dresser exclaiming in French]

Elle est fol/e! Monsieur lermonto v!

[Man] Mademoiselle page, 00 allez-vous?

[Train whistle blows]

[Train approaching]

[Brakes squealing]

[Overture playing]

Ladies...

And gentlemen...

I am sorry...

To tell you...

That miss page...

Is unable...

To dance tonight...

[Audience gasping, murmuring]

Nor indeed...

Any other night.

[Gasping, murmuring continue]

Nevertheless...

We've decided...

To present...

The red shoes.

The ballet...

That made her name...

Whose name...

She made.

We present it...

Because...

We think...

She would have...

Wished it.

[Orchestra playing]

- [Vicky whimpering]
- [Crowd chattering]

- Pas d'espoir.
- [Crowd sighs]

Julian.

Yes, my darling?

Take off the red shoes.

[Orchestra continues]