A WOMAN'S GLOVED HAND turns the pages of a program, aided by her male companion. The camera assumes their point of view. With this brilliant segue, directors Michael Powell and Emeric Pressburger signal that we, the film audience, are these dapper patrons. Placed squarely in the theater, we begin our transition from watching The Red Shoes (1948) the movie to watching "The Red Shoes" the ballet.
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