6.4/10
170
8 user 3 critic

1-2-3-4 ou Les collants noirs (1961)

Live scenes of Paris and a continuity Narrator link together four dramatic re-enactments of original ballet creations by Roland Petit and his ensemble, Ballets de Paris: Carmen (1949), La croqueuse de diamants (1950), Deuil en 24 heures (1953), and Cyrano de Bergerac (1959).

Director:

Terence Young

Writers:

Roland Petit (adapted by), Edmond Rostand (inspired by the novel by) | 1 more credit »
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Cast

Cast overview, first billed only:
Maurice Chevalier ... Himself - Presenter
Les Ballets de Paris Les Ballets de Paris ... Themselves (as Ballets de Paris of Roland Petit)
Zizi Jeanmaire ... The Gold Digger / Carmen
Dirk Sanders Dirk Sanders ... Pierrot
Bertie Eckhrat Bertie Eckhrat ... The Bartender
Raoul Celada Raoul Celada ... Ruffian
Gerard Lemaitre Gerard Lemaitre ... Ruffian / Waiter at Coffee Shop
Elwin Carel Elwin Carel ... Ruffian
Hans von Manen Hans von Manen ... Ruffian / The Husband / Smuggler
Claude Jourdan Claude Jourdan ... Ruffian
Roland Petit Roland Petit ... Cyrano / The Seducer / Don José
Moira Shearer ... Roxane
George Reich George Reich ... Christian
Josiane Consoli Josiane Consoli ... Lise Ragueneau
Joelle Zissler Joelle Zissler ... The Duenna
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Storyline

Live scenes of Paris and a continuity Narrator link together four dramatic re-enactments of original ballet creations by Roland Petit and his ensemble, Ballets de Paris: Carmen (1949), La croqueuse de diamants (1950), Deuil en 24 heures (1953), and Cyrano de Bergerac (1959).

Plot Summary | Add Synopsis

Taglines:

The Elegance of "The Red Shoes" and the Charm of "Gigi" See more »

Genres:

Drama | Musical

Certificate:

See all certifications »
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Details

Country:

France | Portugal

Language:

French

Release Date:

9 May 1961 (Portugal) See more »

Also Known As:

Black Tights See more »

Filming Locations:

Paris, France

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (cut)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

2.20 : 1
See full technical specs »
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Did You Know?

Connections

Referenced in Terence Young: Bond Vivant (2000) See more »

Soundtracks

Deuil en 24 heures
Ballet de Roland Petit
Music by Maurice Thiriet
Libretto by Vladimir Pozner
See more »

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User Reviews

Good color, good music, good dance
11 June 2007 | by HallmarkMovieBuffSee all my reviews

I bought this movie on VHS "at the dawn on the home video age" and, curiously, never got around to watching it until I watched the 2005 National Film Museum version on TCM this afternoon. To compare, I hauled out my bought copy, Video Arts International's VAI-15, which is also the 126-minute U.S. version released theatrically in 1962. (Neither this title nor any title in this format is any longer in VAI's catalog.) The following comments refer to the version seen today on TV.

All in all, I found the performances, the choreography, the staging, and the technical elements surrounding them quite intriguing and enjoyable. Two of the technical elements, in particular, bear mentioning.

The color photography is luscious, but not what one typically thinks of when the movie is shot in Technicolor. Although the colors themselves are brilliant and distinct, there are no shades of gray in evidence. Grays come out black, detracting from some of the more darkly-lit pieces, and making the overall appearance one of high contrast. Additionally, some of the skin tones tend more toward "white" than toward "flesh-colored," aggravated no doubt by the contrast between dark and light.

Secondly, a feature that I consider a giant plus is that this movie of set ballet pieces was filmed before the arrival of the short attention span of the MTV Generation, when popular music videos corrupted the video style of even live performances, including many found on PBS. Here, although different camera angles are employed to good effect, they don't switch every five seconds making the viewer dizzy and disoriented. In short, one can actually watch and enjoy this performance instead of having one's concentration constantly distracted by helter-skelter random shots of the action.

In summary, this film of four ballets provides a fascinating "Roland Petit retrospective" nearly a half-century later.


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