Telling Stories
"Hans Christian Andersen", written by Myles Connoly, Moss Hart, and Ben Hecht; directed by Charles Vidor.It's movie night with my wife, and we're trying to pick a film to watch. While we're not the stereotypical couple - "I want to watch 'Die Hard'!" I want to watch 'Beaches'!" - I do tend towards darker fare, while she prefers sunnier comedies. So we agreed on "Hans Christian Andersen", one of her favorite movies.
I'm not a big fan of musicals or Danny Kaye films, so "Hans Christian Andersen" had a steep uphill battle to win me over. The whole film is painfully earnest, which can certainly set the stage for a good post-modern mocking. I steeled myself to bear the brunt of a flimsy plot strung with forgettable patter songs that Kaye would burble as he hopped about, twiddling his fingers or something. I was surprised to find that, while the film has it flaws, beneath its surface lay a thoughtful, affecting story. Not only was it engaging, but it had a few things to say about the joys - and pitfalls - of fantasy.
Mr. Kaye (of course) plays Hans, a small-town cobbler who spends most of his time flying kites and telling stories to the local children. He does this so much, in fact, the schoolmaster successfully campaigns to have him driven from town. To save his pride, his apprentice Peter (Joseph Walsh) talks Hans into travelling to The Big City - in this case, Copenhagen. Between this exchange, and the travelling song that follows it, the word "Copenhagen" is said about a thousand times, or a least enough for a small-scale drinking game. It isn't long after arriving that Hans and Peter set up shop in their "temporary" home. Unfortunately, it also isn't long before Hans gets thrown into jail through his ignorance of the city's laws. Happily though, one of the gentry pays to have the cobbler freed.
Things get more complicated when the benefactor enlists Hans to make new ballet slippers for Doro (dancer Zizi Jeanmaire), the prima donna of the local ballet company. One look at her and Hans is smitten, blinded to everything. Doro's marriage to the company director Niels (Farley Granger) is tempestuous, and Hans misreads this to be a damsel in need of rescue. More fuel is added to the fire when the company adapts "The Little Mermaid" (ostensibly written as a love letter to Doro) as a ballet. Peter tries desperately to warn Hans, but a painful collision with reality is inevitable.
Interestingly, it is Hans' very gift at immersing himself so completely into his dreams that gets him in the most trouble. Indeed, his burgeoning career as a writer and his friendship with Peter are almost destroyed by his romantic fantasies. While Hans does go on to storybook immortality, his tall tales seem to be double-edged swords, giving the frothy plot depth and emotion. It's a far cry from the modern take of stories as teachers and healers, innately resolving any conflicts by the final curtain.
Many of Mr. Loesser's songs are bright and fun ("Thumbelina" is a highlight, and viewers may remember "Inchworm" from a later episode of "The Muppet Show"), and the art direction, while cluttered at times, is fairy-tale cheerful. Some sequences are overlong (the climactic ballet especially so), and the ending seems rather abrupt (Hans makes the transition back from crushed cobbler back to chipper writer in a single scene), but all in all "Hans Christian Andersen" is a charming musical with some intriguing ideas.







































































