Frequently Bought Together
Product Details
Would you like to update product info or give feedback on images?
|
Editorial Reviews
Amazon.com
Tchaikovsky's timeless Yuletide ballet is presented in an all-new movie version with as much eloquence as one would find in a live stage production. Replete with gorgeous costumes and scenery, George Balanchine's production, adapted by Peter Martins, features the New York City Ballet with narration by Kevin Kline. From the moment the Nutcracker prince winds toymaker Drosselmeier's life-sized dolls, viewers are ushered into the captivating story of a little girl's Christmas Eve fantasy of beauty, magic, and sugarplums. While several versions of this beloved tale are available in video, this one is distinguished for the magnificent performances of a large cast of young ballet dancers from the School of American Ballet. While Culkin lends his star-studded name, that is all he lends in what is mostly a wooden performance (he often appears on the sidelines looking quite blasé and detached). More deserving accolades go to Jessica Lynn Cohen as Marie, whose genuineness never wanes and dance steps never falter. Bart Robinson Cook is wonderful as the playful Herr Drosselmeier, and Darci Kistler is the graceful Sugarplum Fairy. Mostly this film belongs to children--both on the stage and in the audience. What is lacking in spontaneous energy of live theater is made up for in a perfectly polished performance. The only thing missing is the well-earned applause. --Lynn Gibson
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Reviews
Most Helpful Customer Reviews
96 of 97 people found the following review helpful
Format:DVD
All things considered, I have to say that this is quite an enjoyable theatrical presentation of Balanchine's "The Nutcracker." Looking at "the show" itself, its most rave-worthy characteristic is how well the team of Peter Martins (ballet master), Emile Ardolino (director) and Ralf Bode (cinematographer) collaborated to actually "choreograph the camera" to the movements of the performers. Thanks to a talented movie crew and an incredible amount of consideration given to viewing angles (read the description in the disc's "special features"), the TV always seemed to be showing exactly what I wanted to look at on the stage. Add in some nice work by Industrial Light & Magic, decent narration, and a top-notch production team, and the result is a superb presentation.
From a performance standpoint, I'd give this an A-minus mainly because the versions of "The Nutcracker" I've seen most often cast the Nutcracker Prince in a much more active role dancewise. Still, everyone else did a fantastic job. Noteworthy were the Pas de Deux by the Cavalier (Damian Woetzel) and Sugarplum Fairy (Darci Kistler), and the powerful dance presence of Coffee (Wendy Whelan). The other "Sweets" performed very well also. So long as you try not to picture Macaulay Culkin as a ballet dancer, you'll be okay. Let's face it: you can't expect the little guy to measure up next to the NYC Ballet, but he is there to add a little star appeal and possibly sell ballet to your kids (which may not be a bad idea). Nuff said. By the way, the younger performers from the School of American Ballet were wonderful.
Regarding disc features, the DVD has some cool stuff to offer: two viewing formats, 30-scene index, and some good production notes regarding the history of the show, camera choreography and description of ILM's special effects.
61 of 62 people found the following review helpful
Format:DVD
The one time that I've seen the George Balanchine production of 'The Nutcracker' in New York, I was standing at the back of the top balcony. I obviously couldn't see much even with the pair of 7x50 binoculars I brought, so I'm glad that this DVD has become available. The recording wasn't made before an audience but was nonetheless filmed on stage. It thus preserves the appearance and staginess of the original production, while the camerawork has more freedom and energy than it would have otherwise.
The dancers of the NYC Ballet and the students from its associated school, the School of American Ballet, have performed the Balanchine Nutcracker every Christmas season since 1969 (the film was made in 1993). I prefer this production in great part because children and not adults perform the children's roles unlike most of the other tapes and DVDs available. Here the kids are delighfully energetic and enthusiastic; the only sour note is Macauley Culkin as the nutcracker-prince. He attended the SAB for awhile, and he looks thoroughy bored at returning to his old haunts. I don't know if it's his fault or the director's, but his disdainful expressions are rather off-putting. He was obviously cast to draw a larger audience, and he certainly looks the part, but his dancing skills aren't good enough for what amounts to the lead role.
A recent article in the NYT said that the SAB has for some years been making a concerted effort to attract more boys (free tuition, no tights, frequent auditions, single-sex classes, etc.). The result is that all the boys' roles in this performance are filled by boys and not disgruntled little girls.
I quite enjoy this DVD, and I highly recommend it. It has few extra materials; only some short biographies and some footage about making the film. I would like to have had some rehearsal and backstage footage since I'm not familiar with how a ballet is put together.
56 of 59 people found the following review helpful
Format:DVD
In 1954, Russian-born choreographer George Balanchine staged a new version of "The Nutcracker" for his New York City Ballet. What sets Balanchine's version apart from the subsequent incarnations that would emerge in Soviet Russia and Europe is that it utilizes the original 1892 libretto. In fact, Balanchine's may be as close as one can ever get to seeing the original Maryinsky production by Marius Petipa and Lev Ivanov. Most notably, he preserved Petipa's emphasis on narrative over dance (used to great success in 1890's "The Sleeping Beauty"), especially in the Act I party and battle scenes and the Nutcracker Prince's pantomime in Act II. We also get conventions that were eventually weeded out in other productions such as a distinctly German setting for Act I, and Act II divertissement representing actual confections as opposed to just geographic regions. This is a very pure version of the ballet: no strange Freudian undertones as with Maurice Bejart's or Rudolf Nureyev's versions, no oppressive Soviet realism as with Vasily Vainonen's production (or with productions influenced by it, such as Mikhail Baryshnikov's version for the American Ballet Theatre), and no adults playing the children's roles as with all of the above. Here, we get a simple story of childhood whimsy culminating in some spectacular visions of Christmastime including a giant Christmas tree, a torrential snowstorm, and a magnificent Land of Sweets.
Here we have the 1993 film version of the Balanchine production, some forty years after its premiere; and a very fine film it is. It is directed by Emile Ardolino whose influence on the filming of American dance cannot be underestimated. For years, he racked up Emmy Awards (seventeen in total!) for his work profiling dance on PBS's programs "Dance in America" and "Live from Lincoln Center." It is Ardolino's finesse in guiding Ralph Bode's cinematography that sets this "Nutcracker" apart from others - in particular Carroll Ballard's 1986 film of Pacific Northwest Ballet's version and the recent San Francisco Ballet release (which, though beautiful in its own right, is marred by insensitive camera angles). Ardolino understands ballet and understands what a dance audience looks for. As a result, we get some gorgeous shots that are perfectly framed that maintain a respectful distance from the dancers. Oftentimes in dance films, we get so many close ups and odd camera angles it is impossible to get a holistic feel for the dance. Not so in this case.
The actual production has never looked better. Rouben Ter-Arutunian's set designs are absolutely stunning up close and, although Barbara Karinska's costumes are somewhat old-fashioned (including some rather heavy tutus for the Waltz of the Snowflakes scene), they have a nostalgic, stately charm. Jessica Lynn-Cohen is a surprisingly mature Marie. Her performance is nuanced and fully conceived. I wish I could say the same for her co-star, Macauley Culkin as the Nutcracker, in an odd example of stunt-casting. His performance is comparatively stilted and awkward. This would be perfectly serviceable in a stage production, but up close on film, it doesn't pass muster. Thankfully, his time on screen is relatively limited.
This production was filmed just before the New York City Ballet's status as a "Balanchine company" began to wane somewhere in the mid-1990s (although some would attest this happened earlier). Thus, we get to see some performances that represent the zenith of the company's potential. Darcy Kistler exhibits fleet, elegant precision as the Sugar Plum Fairy. Her Pas de Deux with Damian Woetzel (who has since gone on to become a formidable dance director and lecturer) is breathtaking. Kyra Nichols gives an exhilarating, powerful performance as the Dew Drop leading the Waltz of the Flowers. Bart Robinson Cook plays a delightful Drosselmeyer (a role which Balanchine played himself in the early years). Likewise, the way the corps throw themselves into numbers like the Waltz of the Snowflakes and Waltz of the Flowers is unparalleled.
All that said, the true star of the show is still Balanchine's sensitive choreography. With the libretto being so bare bones, it is up to the choreographer to make or break this ballet. Here, we get an atmosphere of warmth and love in the Act I party scene, a detailed master class in expressive movement. Utilizing only mime and gesture, Balanchine imbues every character onstage with a distinct personality and place in the action. (Credit must also be given to the talented students of the School of American Ballet.) Also palpable is the familial air of the Stahlbaum household, exemplified in a brilliant and sweet entr'acte that Balanchine interpolates between the party and battle scenes (utilizing music cut from Tchaikovsky's "The Sleeping Beauty") in which Marie's worried mother (played by the lovely Heather Watts) comes looking for her daughter who has fallen asleep by the Christmas tree. After the narrative subsides and the dancing takes over, the corps numbers become organic extensions of Tchaikovsky's brilliant music. In fact, with Balanchine, the dancers become embodiments of the music - this is especially the case with the Waltz of the Flowers closing the divertissement of Act II. Just seeing the melodic patterns work themselves out through the dancers is breathtaking. Speaking of the music, Tchaikovsky's score gets a wonderful, sensitive performance here from David Zinman and the New York City Ballet Orchestra.
Seeing this "Nutcracker" after so many other incarnations always feels like returning "home." It is a lovingly constructed rendition that I am glad has been preserved on film.
Here we have the 1993 film version of the Balanchine production, some forty years after its premiere; and a very fine film it is. It is directed by Emile Ardolino whose influence on the filming of American dance cannot be underestimated. For years, he racked up Emmy Awards (seventeen in total!) for his work profiling dance on PBS's programs "Dance in America" and "Live from Lincoln Center." It is Ardolino's finesse in guiding Ralph Bode's cinematography that sets this "Nutcracker" apart from others - in particular Carroll Ballard's 1986 film of Pacific Northwest Ballet's version and the recent San Francisco Ballet release (which, though beautiful in its own right, is marred by insensitive camera angles). Ardolino understands ballet and understands what a dance audience looks for. As a result, we get some gorgeous shots that are perfectly framed that maintain a respectful distance from the dancers. Oftentimes in dance films, we get so many close ups and odd camera angles it is impossible to get a holistic feel for the dance. Not so in this case.
The actual production has never looked better. Rouben Ter-Arutunian's set designs are absolutely stunning up close and, although Barbara Karinska's costumes are somewhat old-fashioned (including some rather heavy tutus for the Waltz of the Snowflakes scene), they have a nostalgic, stately charm. Jessica Lynn-Cohen is a surprisingly mature Marie. Her performance is nuanced and fully conceived. I wish I could say the same for her co-star, Macauley Culkin as the Nutcracker, in an odd example of stunt-casting. His performance is comparatively stilted and awkward. This would be perfectly serviceable in a stage production, but up close on film, it doesn't pass muster. Thankfully, his time on screen is relatively limited.
This production was filmed just before the New York City Ballet's status as a "Balanchine company" began to wane somewhere in the mid-1990s (although some would attest this happened earlier). Thus, we get to see some performances that represent the zenith of the company's potential. Darcy Kistler exhibits fleet, elegant precision as the Sugar Plum Fairy. Her Pas de Deux with Damian Woetzel (who has since gone on to become a formidable dance director and lecturer) is breathtaking. Kyra Nichols gives an exhilarating, powerful performance as the Dew Drop leading the Waltz of the Flowers. Bart Robinson Cook plays a delightful Drosselmeyer (a role which Balanchine played himself in the early years). Likewise, the way the corps throw themselves into numbers like the Waltz of the Snowflakes and Waltz of the Flowers is unparalleled.
All that said, the true star of the show is still Balanchine's sensitive choreography. With the libretto being so bare bones, it is up to the choreographer to make or break this ballet. Here, we get an atmosphere of warmth and love in the Act I party scene, a detailed master class in expressive movement. Utilizing only mime and gesture, Balanchine imbues every character onstage with a distinct personality and place in the action. (Credit must also be given to the talented students of the School of American Ballet.) Also palpable is the familial air of the Stahlbaum household, exemplified in a brilliant and sweet entr'acte that Balanchine interpolates between the party and battle scenes (utilizing music cut from Tchaikovsky's "The Sleeping Beauty") in which Marie's worried mother (played by the lovely Heather Watts) comes looking for her daughter who has fallen asleep by the Christmas tree. After the narrative subsides and the dancing takes over, the corps numbers become organic extensions of Tchaikovsky's brilliant music. In fact, with Balanchine, the dancers become embodiments of the music - this is especially the case with the Waltz of the Flowers closing the divertissement of Act II. Just seeing the melodic patterns work themselves out through the dancers is breathtaking. Speaking of the music, Tchaikovsky's score gets a wonderful, sensitive performance here from David Zinman and the New York City Ballet Orchestra.
Seeing this "Nutcracker" after so many other incarnations always feels like returning "home." It is a lovingly constructed rendition that I am glad has been preserved on film.
Most Recent Customer Reviews
Great product
The movie is much better than attending a ballet perfomance live. Its almost like being a part of the action. All of the performers did an excellent job.
Published 1 month ago by Ernie
The Nutcracker
I REALLY LIKE THIS I HAVE SERVAL DRIFFERNT COPIES OF DRIFFERNT DVDS ON THE NUTCRACKER THEY ARE ALL GREAT DVDS.
Published 3 months ago by Harold M. Clayton
it is awesome
The Nutcracker is a great Christmas movie for a family Christmas day. It is a great start to the holiday season. I enjoyed it on Christmas day.
Published 3 months ago by kandl
Balanchine and New York City Ballet: You can't go wrong. Ever.
I purchased the VHS version of George Balanchine's The Nutcracker when my daughter was 3 years old. Eventually, the VHS tape wore out and we purchased the DVD. Read more
Published 4 months ago by AK
Classic!
I have watched this version of the Nutcracker since the age of 9. It doesn't dissappoint! Probably one of my favorite...
Published 4 months ago by Mrs B
the nutcraker
superbe dvd,the very best of the nutcraker will make a wonderful gift if you want to please someone.i highly recommand it
Published 4 months ago by mr.g
George Balanchine's The Nutcracker
Do'nt miss this wonderful video with Macauly Culkin.
It is the ballet version of the magnificent music from tchaikovsky and is a feast for eye and ear. Read more
It is the ballet version of the magnificent music from tchaikovsky and is a feast for eye and ear. Read more
Published 4 months ago by Donald
great way to introduce your kids to "The Nutcracker"
This version of The Nutcracker has ballet integrated with visual storytelling, so that the story behind the ballet is understandable for young children. Read more
Published 5 months ago by A. Reader
Another wasted opportunity
I watched this "holiday classic" with my kids and we all didn't know what to make of it. First of all, there's absolutely no dialog, so while the movie was going on, I had to... Read more
Published 5 months ago by Rayscann
Buy the 1997 version, this one is bootleg
Don't buy from this seller. The menu system does not work right and the quality of the image is poor. It appears this version is a bootleg copy from Canada. Read more
Published 5 months ago by Teresa
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
Look for Similar Items by Category
Look for Similar Items by Subject
|
