The movie Martin Scorsese called “one of the very greatest ever made”
Martin Scorsese is undeniably a titan of cinema. Nearly all of his 27 feature films are highly celebrated and have found their place on numerous ‘greatest films’ lists. Scorsese’s contributions to the art form are nothing short of profound, characterised by his innovative and artistic visions that have left an indelible mark on the big screen.
Ask any regular cinephile about their favourite movies, and Scorsese’s work will most likely feature in their answers. Ranging from his dark exploration of gritty environments seen in Mean Streets to the rise and downfall of the gangster lifestyle in Goodfellas, Scorsese masters storytelling through visual art.
To have one of the greatest and most influential filmmakers rank one of your works in their personal top ten must be a great honour. Well, ten lucky directors were given this exact tribute by the legendary director, as Scorsese ranked his ten favourite movies of all time.
In 2014, the director shared his personal top ten list with The Criterion Collection. The list featured acclaimed directors such as Federico Fellini, Jean-Luc Godard, and Jean Renoir, who earned Scorsese’s praise for their exceptional contributions to cinema. Offering a peak behind the curtain of his creativity, Scorsese’s preferred genres span from fantasy romance to film adaptations of dramatic novels, reflecting his diverse tastes and appreciation for cinematic excellence across various styles and themes.
The second entry on Scorsese’s list is The Red Shoes, a film for which he has shown endless love for over the years. The Taxi Driver director praises the movie as a visually stunning exploration of its subject matter, claiming it to be one of the best films ever made. “I’ve said and written so much about this picture over the years; for me, it’s always been one of the very greatest ever made,” Scorsese declared. “Every time I go back to look at it—about once a year—it’s new: it reveals another side, another level, and it goes deeper”.
The Red Shoes is a timeless British drama directed by Michael Powell and Emeric Pressburger. Released in 1948, the film portrays the journey of an aspiring ballerina, played by Moira Shearer, who grapples with the conflict between her passion for dance and her yearning for love. She faces the relentless pressure of her instructor, portrayed by Anton Walbrook, who urges her to prioritise her dedication to ballet above all else.
However, Vicky finds herself drawn to the charming composer Julian, played by Marius Goring. As their romance blossoms, she grapples with the weighty dilemma of choosing between her dedication to her art and her burgeoning love for Julian. The decision she faces carries significant consequences, regardless of the path she ultimately chooses, highlighting the complexity of her internal struggle.
When asked to explain what is unique about his second favourite film, Scorsese references the stylistic art direction. “Of course, it’s beautiful, one of the most beautiful Technicolor films ever made,” he said. “It has such an extraordinary sense of magic”.
Scorsese references Vicky’s life-changing dilemma as one of the film’s strengths. He says: “There’s no other picture that dramatises and visualises the overwhelming obsession of art, the way it can take over your life. But on a deeper level, in the movement and energy of the filmmaking itself, is a deep and abiding love of art, a belief in art as a genuinely transcendent state”.
The director situates Powell and Pressburger’s visuals as a utopian image. He advises viewers to “look again at the scene where Moira Shearer is walking up the steps to Anton Walbrook’s villa”, before adding: “Especially in the new restoration: it seems like she’s floating on currents of sparkling light and air”.
At its core, The Red Shoes is a cautionary tale about the price of artistic ambition and the sacrifices one must make for art – a feeling Scorsese himself has carried throughout his career. The film explores themes of passion, obsession, and the conflict between personal fulfilment and professional success as Vicky grapples with the demands of her career and the desire for love and autonomy; it’s little wonder Scorsese holds it in such high regard.
