Hans Christian Andersen (1952)

Samuel Goldwyn Pictures
Director: Charles Vidor
Starring: Danny Kaye, Farley Granger, Zizi Jeanmaire

Not every dream project or prestige production makes for truly beloved film. Such is the case with movie mogul Samuel Goldwyn’s vision with 1952’s Hans Christian Andersen. Perceived to be his lavish Technicolor musical by Goldwyn, the picture would be a massive financial triumph initially, but a critical disappointment and forgettable feature in the long run of cinema. By whatever means one measures the importance of the film’s status in movie history, it ultimately provides as one of the many examples of star Danny Kaye’s position as being one of the most successful performers of this period.

 

Hans Christian Andersen is a fictional musical biography of the famed Danish author known for his many classic fairy tales. The story follows the small-town cobbler and story spinner, Hans Christian Andersen (Danny Kaye), on his stay to the big city of Copenhagen, where he muses inspiration towards creating and sharing many fairytales, including “Thumbelina” and “The Ugly Duckling.” Hired for his cobbling by the Royal Ballet, Hans is smitten by its lead ballerina Doro (Zizi Jeanmaire), whom he believes is mistreated by Niels (Farley Granger), the manager the ballet and her husband, stirring Hans to pen a metaphoric fairytale based on Doro, “The Little Mermaid.” Hans’ stories begin to gain him a bit of fame, with tales being published and the ballet working The Little Mermaid into its latest successful production. Despite his new excitement Hans is heartbroken when Doro explains he misunderstood her friendliness as an opening for romance, and that she is still very much in love with Niels. Dejected, Hans returns to his village in defeat only to be greeted as a celebrity for his newfound accomplishments as a famed author.

 

Initial perception of this 1952 motion picture delivers a sense of Samuel Goldwyn attempting to produce his own Technicolor fairytale-based feature in a similar fashion as Walt Disney did with Snow White and the Seven Dwarfs (1937) or MGM did with The Wizard of Oz (1939). Danny Kaye is a delightful entertainer with many short scenes delivering rousing classic tales by Andersen. However, with all is goofiness and hamming that makes him fun in his own way it is difficult to take him seriously as a dramatic actor, hindering any romance or sorrow the narrative attempt to deliver. The film contains moments of childlike heart, but lacks a true connection with audiences as those who are familiar Hans Christian Andersen’s tales lack any emotion with the author, even this fictional version of him. Although a decently production in most respects, the film lacks the ability to transcend being just another color musical attempting to mimic the style of pictures from 10-15 years prior as main plot lacks drama, merely moments between creative telling of the fairytales, which are the best scenes of the picture.

 

Samuel Goldwyn’s dreams to produce a feature based on Hans Christian Andersen’s tales date as far back as 1938, which may suggest that he saw promise of creating a lavish Technicolor fantasy from observing the rousing success of Walt Disney’s Snow White and the Seven Dwarfs. A passion project for the Hollywood producer, Goldwyn commissioned several scripts about the author and his stories hoping to bring them to the screen. Of course, World War II shelved plans for the extravagant motion picture until the early 50s when a script was fleshed out into the feature that became what we see here.

 

Sparing no expense Samuel Goldwyn did all he could to hire some of the best talent to realize his dream. Pulitzer Prize winning playwright and screenwriter Ross Hart would was hired to pen the script. When failing to acquire the talents of Rodgers and Hammerstein to write songs for the feature, Tony Award winner Frank Loesser would be secured at compose ten original songs. Danny Kaye, whom Goldwyn import from Broadway to Hollywood over a decade prior was now one of the biggest names in entertainment, embodying the energy the producer looked for out of the feature hired to be the face of the picture as the titular famed storyteller. Not to be overlooked is director Charles Vidor was tasked with bringing Goldwyn’s vision to the screen, believing this accomplish director would do it justice.

 

Through all of production Samuel Goldwyn was over the moon bringing this dream project to life. Some of the most expensive and elaborate sets for any of his features were constructed. Hundreds of bright, intricate costumes based on old Danish garb and the timeless fairytales knowing they would be captures in the vibrancy of Technicolor. The passion project coming together was so extravagant and sumptuous that Goldwyn was unable to see the flaws in the script and production. The screenplay was choppy, lacking a heartfelt narrative. Meanwhile issues with actors on sets would cause concern for most studios with their largest budgeted picture. Goldwyn, although, was just tickled with excitement that his dream prestige picture was finally coming together, providing as blinders towards the troubles that lied within.

 

One of the highest paid actors in Hollywood thanks in part to this project, Danny Kaye was noted as being difficult to work with through principal photography. An intricate perfectionist as a performer, Kaye was demanding that his fellow cast members be as finely tuned as himself. Zizi Jeanmaire was a French ballerina turned actor, but with English was not her native tongue communication with her on set would be slow to understand, especially when being given direction by Vidor. Kaye had little patience with how long it took for her to get her lines correct or understanding directions, leading to instances of him snapping or storming off set.

 

Farley Granger was not a fan of his casting in the picture, believing the bright and often goof picture was beneath him. His contractual obligations to Goldwyn left him with no choice as the film served to satisfy the final needs under the employment of the movie mogul. Granger too found working with Kaye troubling, one moment Kaye would be his best friend and the next Kaye would be yelling and complaining unprovoked due to Kaye’s frustrations. It was the skill of Charles Vidor that kept everything on set together and under enough control to get production though to completion.

 

The result of Hans Christian Andersen was the culmination of Samuel Goldwyn’s vision finally making its way to the silver screen nearly a decade and a half in the making. Taking in $8 million the feature was a massive triumph, ranked the sixth highest grossing film for 1952. The film was even nominated for six Academy Awards, focusing on music, sound, and other aspects typically praised in expensive color features such as cinematography, art direction and costume design. While failing to win any categories Goldwyn felt justified by the passion he had for his picture.

 

Back in Demark, the land of Hans Christian Andersen, locals were very disappointed in the feature. Feeling a lack of respect for the man in this entirely fictitious movie and the perception of the country many Danes were against the picture form the very beginning. To quell the protest of the picture before production Goldwyn sent Kaye on a goodwill visit to Copenhagen where he attempted to save face by a honoring of the man he was about to depict in a public ceremony. An adoring mob would cheer on the event as a piece of Hollywood made an appearance in their home country, softening the initial publicity blow.

 

Hans Christian Andersen for all accounts was a very well received picture for the early to mid-1950s. Critically it was liked, but never held in high regard, somewhat quickly brushed aside, despite its box office numbers. Its colorful appeal made it desirable to TV viewership when color televisions became more affordable for the common home in he 1960s. The problem with its TV broadcast would be the near two-hour original runtime leaving no room for commercials. This warranted special extended airings to avoid editing out sequences for ad breaks. The film was a hit, yet in time it falls behind in the memory of beloved features of the era. Hans Christian Andersen simply lacks the timeless charm of other timeless fairytale classics.

 

Like Danny Kaye, the film is an acquired taste for many. It is well made, charming, and at times entertaining, but it lacks the prolonged hook that brings audiences back beyond Danny Kaye fanciers, having become not much more than a footnote in his body of work.