The Tales of Hoffmann (The Criterion Collection) - Emeric Pressburger

Hoffmann dreams of three women - a mechanical performing doll, a bejeweled siren who steals his reflection, and the consumptive daughter of a famous composer - all of whom break his heart in different In Jacques Offenbach's fantasy opera, the poet E.T.A.

An Opera de Lyon production, using Kaye's research but with a radically untraditional staging, has won wholehearted approval from some fans but unequivocal rejection from more.

As adaptations go, this 1951 film is the best compromise currently available on video and will always be a classic in its own right, even when a more faithful treatment becomes available. I expect eventually to add a more faithful Tales of Hoffmann to my video collection, but I will never stop enjoying this one. The movie is essentially the work of the same team that produced The Red Shoes (directors Michael Powell and Emeric Pressburger); it has the same kind of imaginative appeal and its technical resourcefulness is still exciting, still on the cutting edge despite its age. It has survived and kept its essential identity through many adaptations because its music is so witty and compelling, its imagination so vivid and varied, its story of the poet Hoffmann's unhappy loves so intriguing they can transcend such tinkering.

A critical performing edition prepared by musicologist Michael Kaye has made it possible to come close to Offenbach's original intentions after more than a century of misunderstanding, and major companies have begun to use that edition, but so far no universally satisfying production of it has reached video. Jacques Offenbach died with his masterpiece not quite finished, and that has made The Tales of Hoffmann a predestined victim for adapters who have dropped some numbers, inserted others, altered the plot, fiddled with the casting, and changed the order of scenes. But at least it treats the story with affection, imagination, and technical expertise. --Joe McLellan It drops some of Offenbach's music and includes some that is spurious, and it changes the plot (Hoffman's beloved Stella is made a dancer--Moira Shearer--not a singer). The music presents only highlights of the score, but it is in the hands of a great conductor, Sir Thomas Beecham.