If music lives on records, why does ballet die on film? Why has cinema in two-thirds of a century produced only one picture, The Red Shoes, in which the marriage of camera and choreography did not give birth to a monster? Three new monsters are currently caged in U.S. movie houses, and their presence offers a painful occasion to inspect and perhaps improve the breed.
Cinderella, the screen version of a three-act dance drama scored by Sergei Prokofiev and performed by Moscow's illustrious Bolshoi Ballet, is a big fat pumpkin of a production...
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