Editing The Red Shoes (1948 film) (section)

==Release==
===Box office===
''The Red Shoes'' had its premiere in London on 22 July 1948, and its general release in the United Kingdom was on 6 September 1948. Upon its initial release in the United Kingdom the film was a low-earning picture, as the [[Rank Organisation]] could not afford to spend much on promotion due to severe financial problems exacerbated by the expense of ''[[Caesar and Cleopatra (film)|Caesar and Cleopatra]]'' (1945). Also, according to Powell, the Rank Organisation did not understand the artistic merits of the film, and this strain in the relationship between The Archers and Rank led to the end of the partnership between them, with The Archers moving to work for Alexander Korda.{{sfn|Powell|1986|pages=650–651}}

Despite a lack of advertising, the film went on to become the sixth most popular film at the British box office in 1948.<ref>{{cite news |url=http://nla.gov.au/nla.news-article49930940 |title=The Starry Way|newspaper=[[The Courier-Mail]] |location=Brisbane |date=8 January 1949 |access-date=11 July 2012 |page=2 |publisher=National Library of Australia}}</ref><ref>{{cite magazine|url=https://archive.org/details/Screen_Volume_32_Issue_3/page/n17|magazine=Screen|page=258|volume=32|issue=3|date=Autumn 1991|title=The popular cash and culture in the postwar British cinema industry|first=Janet|last=Thumim}}</ref> According to ''Kinematograph Weekly'' the 'biggest winner' at the box office in 1948 Britain was ''[[The Best Years of Our Lives]]'' with ''[[Spring in Park Lane]]'' being the best British film and "runners up" being ''[[It Always Rains on Sunday]]'', ''[[My Brother Jonathan]]'', ''[[Road to Rio]]'', ''[[Miranda (1948 film)|Miranda]]'', ''[[An Ideal Husband (1947 film)|An Ideal Husband]]'', ''[[The Naked City (film)|The Naked City]]'', ''The Red Shoes'', ''[[Green Dolphin Street (film)|Green Dolphin Street]]'', ''[[Forever Amber (film)|Forever Amber]]'', ''[[Life with Father (film)|Life with Father]]'', ''[[The Weaker Sex (1948 film)|The Weaker Sex]]'', ''[[Oliver Twist (1948 film)|Oliver Twist]]'', ''[[The Fallen Idol (film)|The Fallen Idol]]'' and ''[[The Winslow Boy (1948 film)|The Winslow Boy]]''.<ref>{{cite book|page=232|title=Blackout : reinventing women for wartime British cinema|last=Lant|first= Antonia|year=1991 |publisher=Princeton University Press }}</ref>

The film premiered in the United States at [[New York City]]'s [[Bijou Theatre (Manhattan, 1917)|Bijou Theatre]] on 21 October 1948,{{sfn|Connelly|2005|p=74}} distributed by [[Eagle-Lion Films]].{{sfn|McLean|2008|p=137}} By the end of the year, it had earned {{FXConvert|USA|2.2|m|year=1948|index=US-GDP|cursign=$|showdate=no}} in US rentals.<ref>[https://archive.org/stream/variety173-1949-01#page/n45/mode/1up "Top Grossers of 1948", ''Variety'' 5 January 1949 p 46]</ref> It ended its run at this cinema on 13 November 1950, playing for a total of 107 weeks.  The success of this run convinced [[Universal Pictures]] that ''The Red Shoes'' was a worthwhile film and they took over the US distribution in 1951. ''The Red Shoes'' went on to become one of the highest-earning British films of all time, with a record-breaking gross of over $5 million.{{sfn|Street|2016|p=109}}{{sfn|Mayer|2003|p=314}}<ref name=topgrossers/>

According to one account, producer's receipts were £179,900 in the UK and £1,111,400 overseas.<ref name="money"/> It made a reported profit of £785,700.<ref name="sue"/><ref>These figures were based on Rank's own records for the company by December 1949. Chapman p 71</ref>

===Critical response===
[[File:Original flyer for the film "The Red Shoes." From The Red Shoes (1948) Collection at Ailina Dance Archives.jpg|thumb|left|Promotional flyer for the film]]
Film scholar Mark Connelly notes that interpreting the contemporaneous critical response to ''The Red Shoes'' is a "complicated task, as there are no simple divisions between those who liked the film and those who did not."{{sfn|Connelly|2005|p=68}} Connelly concludes that the reaction was notably "complex and mixed."{{sfn|Connelly|2005|p=68}} Adrienne McLean similarly states that the film received "only mixed" reviews from both cinema and ballet critics.{{sfn|McLean|1988|p=32}} Upon its release in the United Kingdom, the film received some criticism from the national press, particularly aimed at Powell and Pressburger for the perception that the feature was "undisciplined and downright un-British."{{sfn|Connelly|2005|p=3}}

While the film had its detractors in Britain, it was lauded by some national critics, such as [[Dilys Powell]], who deemed it an "extreme pleasure" and "brilliantly experimental."{{sfn|Connelly|2005|p=70}} Writing for ''[[The Monthly Film Bulletin]]'', [[Marion Eames]] praised the performances of Shearer and Goring, as well as the score.{{sfn|Connelly|2005|p=68}} ''The Daily Film Renter'' published a divisive review, noting that Powell and Pressburger "have fumbled over a fine idea, and their opulent work trembles between the heights and the depths."{{sfn|Connelly|2005|p=68}} Despite this, it was voted the third-best film of the year in a readers' poll by the ''[[Daily Mail]]'', behind ''[[Spring in Park Lane]]'' and ''[[Oliver Twist (1948 film)|Oliver Twist]]''.{{sfn|Connelly|2005|p=67}}

Initial reception proved more favourable in the United States, where the film went on to garner mainstream attention after it screened in the US arthouse circuit.{{sfn|Connelly|2005|p=3}}

A main point of contention amongst both British and American critics was a perceived lack of realism concerning the ballet sequences.{{sfn|Connelly|2005|pages=68–71}} The focus of this criticism was the film's central 17-minute ballet performance of ''The Ballet of the Red Shoes'': Many dance critics felt the sequence's impressionistic touches—which include abstract [[hallucination]]s and visual manifestations of Vicky's mental state—detracted from the physical aspects of the ballet.{{sfn|Connelly|2005|pages=69–70}} British ballet critic [[Kathrine Sorley Walker]] also dismissed the sequence, commenting that it marked "a departure from the illusion of stage ballet to the limitless and lush spaces reflecting the ballerina's thought."{{sfn|Connelly|2005|p=70}} Eames made similar criticism, condemning the subjective elements of the sequence as "corrupting the integrity of the ballet," as well as the choreography.{{sfn|Connelly|2005|p=69}} Philip K. Scheuer of the ''[[Los Angeles Times]]'', however, praised the presentation of ballet in the film, deeming it "the most ambitious—and probably the most dazzlingly successful—use of traditional-type ballet in any motion picture to date."<ref>{{cite news|work=[[Los Angeles Times]]|location=Los Angeles, California|url=https://www.newspapers.com/clip/38871097/the_los_angeles_times/|title=Coproducer Explains 'Red Shoes' Success|last=Scheuer|first=Philip K.|date=19 December 1948|page=19|via=Newspapers.com}}</ref>

===Accolades===
{| class="wikitable unsortable plainrowheaders" style="width:60%;"
|-
! style="width:23%;"| Institution
! style="width:24%;"| Category
! style="width:30%;"| Recipient(s)
! style="width:12%;"| Result
! style="width:1%;" | {{Abbr|Ref.|Reference(s)}}
|-
! scope="row" style="text-align:center;" rowspan="5"| [[Academy Awards]]
| style="text-align:center;"| [[Academy Award for Best Picture|Best Picture]]
| style="text-align:center;"| [[Michael Powell]], [[Emeric Pressburger]]
| {{nom}}
| rowspan="5" style="text-align:center;"| <ref name=nw>{{cite web|url=https://nwfilm.org/films/the-red-shoes/|work=[[Northwest Film Center]]|location=Portland, Oregon|date=30 December 2016|url-status=live|title=The Red Shoes|archive-url=https://web.archive.org/web/20191112065821/https://nwfilm.org/films/the-red-shoes/|archive-date=12 November 2019}}</ref><br />{{sfn|Mayer|2003|p=314}}
|-
| style="text-align:center;"| [[Academy Award for Best Original Screenplay|Best Original Screenplay]]
| style="text-align:center;"| Emeric Pressburger
| {{nom}}
|-
| style="text-align:center;"| [[Academy Award for Best Original Score|Best Original Score]]
| style="text-align:center;"| [[Brian Easdale]]
| {{won}}
|-
| style="text-align:center;"| [[Academy Award for Best Production Design|Best Art Direction]]
| style="text-align:center;"| [[Hein Heckroth]], [[Arthur Lawson (designer)|Arthur Lawson]]
| {{won}}
|-
| style="text-align:center;"| [[Academy Award for Best Film Editing|Best Film Editing]]
| style="text-align:center;"| [[Reginald Mills]]
| {{nom}}
|-
! scope="row" style="text-align:center;"| [[British Academy Film Awards|BAFTA Film Awards]]
| style="text-align:center;"| [[BAFTA Award for Best British Film|Best British Film]]
| style="text-align:center;"| ''The Red Shoes''
| {{nom}}
| style="text-align:center;" rowspan="2" | {{sfn|Mayer|2003|p=314}}
|-
! scope="row" style="text-align:center;"| [[Golden Globe Awards]]
| style="text-align:center;"| [[Golden Globe Award for Best Original Score|Best Original Score]]
| style="text-align:center;"| Brian Easdale
| {{won}}
|-
! scope="row" style="text-align:center;"| [[National Board of Review]]
| style="text-align:center;"| [[National Board of Review: Top Ten Films|Top Ten Films]]
| style="text-align:center;"| ''The Red Shoes''
| {{won}}
| style="text-align:center;"| {{sfn|Connelly|2005|p=75}}
|-
! scope="row" style="text-align:center;"| [[Venice Film Festival]]
| style="text-align:center;"| Grand International Award
| style="text-align:center;"| ''The Red Shoes''
| {{nom}}
| style="text-align:center;"|
|-
|}

===Home media and restoration===
The American home media company [[The Criterion Collection]] released ''The Red Shoes'' on [[laserdisc]] in 1994, and on [[DVD]] in 1999.<ref name=dvdtalk>{{cite web|url=https://www.dvdtalk.com/reviews/43354/red-shoes/|work=[[DVD Talk]]|title=The Red Shoes (Blu-ray)|date=19 July 2010|author=Galbraith, Stuart|archive-url=https://web.archive.org/web/20160329101442/http://www.dvdtalk.com/reviews/43354/red-shoes/|archive-date=29 March 2016|url-status=live}}</ref>

[[File:Red Shoes restoration.jpg|thumb|right|upright=1.1|Before-and-after comparison of the film illustrating its restoration]]
Efforts to restore ''The Red Shoes'' began in the early 2000s.<ref name=turan/> With fundraising spearheaded by [[Martin Scorsese]] and his longtime editor (and Powell's widow), [[Thelma Schoonmaker]], Robert Gitt and Barbara Whitehead formally began the restoration in the fall of 2006 at the [[UCLA Film and Television Archive]], along with the help of the United States [[The Film Foundation|Film Foundation]].<ref name="turan">{{cite news |url=https://www.latimes.com/archives/la-xpm-2009-may-17-ca-redshoes17-story.html|url-status=live|archive-url=https://web.archive.org/web/20181014004356/http://articles.latimes.com/2009/may/17/entertainment/ca-redshoes17|archive-date=14 October 2018|title= 'The Red Shoes' shines anew|work=[[Los Angeles Times]]|location=Los Angeles, California | first=Kenneth | last=Turan |author-link=Kenneth Turan |date=17 May 2009}}</ref> Gitt, the chief preservation officer of the UCLA Archive, supervised the restoration, assisting Whitehead in reviewing each individual frame of the film—192,960 in the print, 578,880 in the tripartite negative.<ref name=turan/> The original negatives had suffered extensive harm, including shrinkage and [[Mold (fungus)|mould]] damage.<ref name=turan/> Because the damage to the negatives was so significant, [[Film preservation#Digital Film Preservation|digital restoration]] was the only viable method of rehabilitating the film.<ref name=restored>{{cite web|url=https://www.cinema.ucla.edu/sites/default/files/RedShoesBooklet.pdf|title=Dancing to the Music of Time: ''The Red Shoes'' Restored|author1=Scorsese, Martin|author1-link=Martin Scorsese|author2=Christie, Ian|author3=Gitt, Robert|year=2009|work=[[UCLA Film and Television Archive]]|publisher=[[University of California, Los Angeles]]|url-status=live|archive-url=https://web.archive.org/web/20190901161922/https://www.cinema.ucla.edu/sites/default/files/RedShoesBooklet.pdf|archive-date=1 September 2019}}</ref> The [[4K resolution|4K]] digital restoration was completed with the help of the [[Prasad Corporation]] and [[Warner Bros.|Warner Bros. Motion Picture Imaging]] to remove dirt, scratches, and other flaws.<ref name=restored/> Digital methods were also used to remove pops, crackles and background hiss from the film's original [[optical sound]]track.<ref name=restored/>

The newly restored version of ''The Red Shoes'' had its world premiere at the [[2009 Cannes Film Festival]].<ref name=turan/> Several months later, in October 2009, ITV Films released the restored version on [[Blu-ray]] in the United Kingdom.<ref>{{cite web|work=Blu-ray.com|title=The Red Shoes Blu-ray: United Kingdom Special Restoration Edition|url-status=live|archive-url=https://web.archive.org/web/20180814012132/http://www.blu-ray.com/movies/The-Red-Shoes-Blu-ray/5554/|archive-date=14 August 2018|url=http://www.blu-ray.com/movies/The-Red-Shoes-Blu-ray/5554/}}</ref> On 20 July 2010, the Criterion Collection again reissued the film in its restored state on DVD and Blu-ray.<ref name=dvdtalk/> Reviewing the Criterion Blu-ray, which includes an illustrative demonstration of the film's restoration, Stuart Galbraith of [[DVD Talk]] referred to the "before and after" comparisons as "shocking and heartening at once."<ref name=dvdtalk/>

On 14 December 2021, Criterion released the 2009 restoration of ''The Red Shoes'' in 4K, as part of their first six-film slate of [[Ultra HD Blu-ray|4K UHD disc]] releases.<ref>{{cite news |last1=Machkovech |first1=Sam |title=Criterion announces support for 4K UHD Blu-ray, beginning with Citizen Kane |url=https://arstechnica.com/gaming/2021/08/criterion-announces-support-for-4k-uhd-blu-ray-beginning-with-citizen-kane/ |access-date=12 August 2021 |work=Ars Technica |date=11 August 2021 |language=en-us}}</ref>