Irina Baronova as Prima Ballerina Trina in the Ballet Sequence from ‘Florian’ (1940)
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- เผยแพร่เมื่อ 13 ก.พ. 2017
- This is the major ballet sequence in the Metro-Goldwyn-Mayer Hollywood film ‘Florian’ (1940), starring Irina Baronova.
The film was directed by Edwin L. Marin and stars Robert Young and Helen Gilbert, with Baronova as the petulant, grasping and beautiful second love interest, the prima ballerina Trina.
Music for the sequence is the beginning of Act 3 of 'Sylvia' by Delibes.
TH-camer TheStockwell tells that: “The AFI (American Film Institute) gives the choreographer's name as Ernst Matray. Hungarian born, Matray was an actor/director/choreographer. He founded a film company with Ernst Lubitsch in 1915, emigrated to the US in 1933, and found his skills as a choreographer were useful in getting assignments in Hollywood. Essentially, if a film needed someone to stage a number or two, he'd be called in. He was born in 1891 and died in 1978”
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I love this.So many movie clips of legendary ballerinas are faintly embarrassing, but this gives one an exhilarating sense of her vivid personality, strong technique and sheer verve
yes, she had a vitality that is palpable!
What an entertaining, strong, and joyful dancer! And I love the choreography- very lively and so generous with unique little arms and jumps. This has got to be one of my favorite ballet videos ever.
yes the footage shows her at her best! glad you agree with me :)
You can see where Victoria Tennant inherited her mother's genes. So pretty and beautiful women. Just in awe of her.
her hands and arms are absolutely beautiful and timeless, and her face is the expression of joy ! thanks for this video
What presence and beauty!
an extraordinary beauty - which is why i guess she was offered movie roles
She was magnificent! I have an impression that nowadays some ballet dancers deffinitely lost their charisma...
she has absolutely no fear. most dancers would consider this messy, but that just proves perfect technique doesn't always get you the job...you gotta have 'it'
I agree about the charisma! so charming talking to camera in the documentary 'Ballets Russes' 2005
How beautiful she was and what a wonderful dancer.
yes, hardly surprising Hollywood came calling!
@@JohnRaymondHall Many ballerinas danced in the movies, Ulanova, Plisetskaya and many others
I could not take my eyes off of her magnificent face. What an actress. I can't believe the movies didn't make greater use of her, or Toumanova, Riabouchinska, all living right there in Hollywood. Her hands are so completely involved in the dance, so perfectly expressive and modeled. She is the complete deal.
yes, impossible to see a negative at all. there is a film i'm looking for - 'Yolanda' - shot in Mexico i think, where she dances bit of 'Swan Lake', Sleeping Beauty' and 'Fille mal gardee'
In some sequences in this movie Baronova is indeed scintillating. Her acting, overall, leaves much to be desired, however, was it her fault altogether or she was coached to act the way she did? - I cannot say. She was criticised for her acting by the leading British dance magazine. This was her first attempt at big screen acting, according to the author of that review.
Ballet dancers used to be so gloriously exciting!
agreed!
The AFI (American Film Institute) gives the choreographer's name as Ernst Matray. Hungarian born Matray was an actor/director/choreographer. He founded a film company with Ernst Lubitsch in 1915, emigrated to the US in 1933, and found his skills as a choreographer were useful in getting assignments in Hollywood. Essentially, if a film needed someone to stage a number or two, he'd be called in.
He was born in 1891 and died in 1978.
thanks so much for that! i've been googling away very unsuccessfully to identify the choreographer - obviously my skills are not what thought them to be! i'll add this to the 'notes' with this video and credit you of course. thanks again!
I spent six years doing research for a documentary about Wilhelm Furtwangler. The experience sharpened my web-searching skills. Mostly, I learned to search using a minimum of evocative words and recognising promising results when they came up.
That said, it's still a grueling task buying T-shirts and art supplies on Amazon.
Keep up the good work. You had me at "Isadora Duncan." :)
Wilhelm Furtwangler - one of my favourite conductors of the old German school - understood the larger architecture of the music - Solti and his ilk seem to have more of a micro focus on the dynamics of the moment - but you will know so much more about all this than i. is the documentary out yet?
He continually studied music theory. The music theorist Heinrich Schenker's works has a great influence on him. One of Schenker's tenets was that every musical work had a key moment which the entire work led up to and away from. In practice, this means a movement of a Beethoven symphony might have multiple climaxes but one is the "real one," and you shouldn't perform every crescendo at the same volume.
It's like science, but with applause and formal dress.
Your comment about Solti is accurate. I enjoyed his work and saw him in concert a few times. He was of the Toscanini school which focused on clarity and absolute respect for the text, avoiding the idea of wild interpretations and distortions employed to "Improve" the music. That said, Toscanini wasn't above editing scores and adding instruments to "improve" it.
Furtwangler took it to the other extreme, feeling the performer had the obligation to take the literal "facts" of the written score and bring it to life. Playing what's written is easy enough to do; a mechanical skill you can be taught. His aim of making the music "sing" was the difference between giving a breathtaking performance of "Hamlet" and simply walking out onstage and reciting it in a steady monotone in order to avoid "interpreting" it.
For the record: my CD collection has music by both of them (also, a lot of jazz, Bach, all The Beatles albums, and about six tons of Sinatra).
The documentary was produced privately for education and musical institutions. Big Name music companies and copyright holders waived their usual fees on the condition that the documentary not be sold to the general public. If they hadn't the film would've cost a fortune to produce. What it means is that the film was made, distributed to private musical and educational institutions, and that's that. Too bad - the film is a thing of beauty; an hour long biography of him which includes as bonus material every known or available bit of footage of him - which isn't a huge amount. He died in 1954, before there were a hundred chat shows and the feasibility of every performance being filmed.
I got to meet her at a ballet camp at Vassar College in the early 90s.
you are lucky! :)
That is ballet !!!!!!!!!!!!!
Fantastica!!!!!
i think so too! :)
Fabulous
yes!
Lindas 💝
❤️❤️❤️
Do you know where I could watch the full length film?! Thank you!
i have 'Florian' 1940 - if you are still on YT, just comment again and i will upload it for you :)
wow she is good for the time ,
yes, fast, sharp attack, brilliant crisp fouettes - i was surprised how good she was for the time.
John Hall absolutely ,would be good also today
and she has such a strong persona - her acting is quite good for this reason in the rest of the movie. i'll add a bit of the acting in a few moments
probabily you know that she started her training at 7 in bucharest ,her family were refuges from 1917 revolution ,her first ballet barre was the dinner table of the one room flat of her first teacher a former mariinsky ballerina refuge too .
yes, Irina Baronova was interviewed by Lee Christofis for the National Library of Australia. There were four sessions recorded on February 2 & 3, 2007 at Canberra, A.C.T.
nla.gov.au/nla.obj-218869378/listen
These audio sessions are able to be heard online and/or downloaded as you like.
Choreographer: Nijinska? Albertina Rasch?
thanks for the suggestions - just checked out the work choreographed by Nijinska an Albertina Rasch - no mention. and nothing in the movie credits or the internet. mmm a mystery. i'll keep looking around.
the arm positions, innovative neo-classic steps and use of the corps de ballet point to Nijinska (who worked in Hollywood - and also had a working relationship with Baronova). Albertina Rasch (also working in Hollywood) often asked ballerinas to produce their own material.... which could explain Nijinska-esque moves. Or maybe it was someone else?
Ernst Matray, according to the AFI (American Film Institute) and other reputable sources. I've left a bit more info as a separate comment.
If living in LA, it is perfectly possible she was taking class with Nijinska, or perhaps even Maracci? I can't stand it when people say, "for their time". It's so ignorant. I've never seen anyone dance this well. Too much was lost in the 1970s. Lupe Serrano, Alicia Alonso were probably the last great classical ballerinas.
Her hands look a bit unusual, and for me she looks a bit more like a figure skater for some reason, but still very nice!
That floor looks like marble.
Ouch
キレイな女性だけどバレエとしてはかなりテクニックが変かな…特に上半身。なぜこんな硬直したようなポールドブラなの？よくわからない。脚は強いけどアンデオールも不完全、というかそこにはさほど意識もフォーカスしてない感じ。
エンタメ的なダンスなのかもね。
Interesting but definitely weird!
the weirdness might be the choreographer, Ernst Matray, a Hungarian who worked in Hollywood born, and, if a film needed someone to stage a number or two, he'd be called in, as TheStockwell commented?