The pointe-shoe sequence serves a double purpose.
Weaving together surreal snippets from the minds of Martin Scorsese, David Lynch, and the Coen Brothers, Adelman doesn't simply gather his clips into a monotonous line of decontextualized scenes, he weaves their most climactic or memorable moments (think Saddam Hussein giving The Dude his golden bowling shoes) into a dream sequence of its very own.
By now you are putting on your shoes and running through the sequence yet one more time.
On a recent evening at a skatepark in Manhattan's Lower East Side, Rodriguez, dressed in a black T-shirt, shorts and skate shoes, performed a smoothly executed sequence of flip tricks and grinds after a long day at the office.
But his greatest artistic triumph is probably the 15-minute ballet sequence in "The Red Shoes," a film for which he should have won a second Oscar.
The dream sequence, notably, features snow shoes, so is true Canadiana a cross between an NFB documentary and a David Lynch movie.
Wearing a pale yellow unitard and point shoes, she guided her body through a sequence of static positions, creating an oddly mesmerizing movement meditation.
Fiona's shoes distractingly pop off and on during this sequence, by all appearances unintentionally, suggesting that the filmmakers could use some help when it comes to continuity.
Ballard and Blackburn devise amusing alternative narratives – Cinderella's "walk of shame" after the ball, and a prince who is left holding "a shoe full of blood" – and they deliver their tap sequences with cheery competence.
The comedy contains some of Chaplin's most famous sequences, such as the Tramp eating his shoe and the "Dance of the Rolls".
Maybe, in years to come, this sequence will become as famous as Charlie Chaplin and the edible shoe.
