Hans Christian Andersen (1952)

Overview

Hans Christian Andersen is not a biopic in the traditional sense. In fact, the film opens with a disclaimer: “This is not the story of his life, but a fairytale about this great spinner of fairy tales.” And that sentiment perfectly captures the essence of this vibrant, whimsical musical.

Rather than exploring the historical reality of the Danish writer, the film presents a romanticized version of Andersen as an affable dreamer whose gift for storytelling enchants children and adults alike. With lavish production design, charming songs by Frank Loesser, and a quintessential performance by Danny Kaye, the film celebrates the power of imagination, artistic innocence, and the bittersweet intersection of love and inspiration.

While modern audiences may find its sentimentality dated and its narrative liberties indulgent, it remains a luminous example of 1950s musical filmmaking at its most escapist.

Plot Summary

In a fictionalized version of 19th-century Denmark, Hans Christian Andersen (Danny Kaye) is a humble cobbler in the village of Odense who spends more time entertaining children with his fantastical tales than making shoes. His flights of imagination exasperate the town’s adults, especially the schoolmaster, who accuses Hans of encouraging the children to dream instead of study.

After being run out of town by concerned citizens, Hans and his apprentice Peter (Joseph Walsh) head to Copenhagen to seek their fortune. There, Hans becomes infatuated with Doro (Zizi Jeanmaire), a glamorous ballerina who is, unfortunately, married to the stern ballet master Niels (Farley Granger).

Misunderstanding the nature of Doro’s relationship and swept up in his own dreams, Hans writes the story of “The Little Mermaid” as a tribute to her. Eventually, he learns the truth and returns home, wiser but undiminished in spirit, to continue spinning stories for children.

Themes and Interpretation

1. Imagination vs. Reality

The film’s central theme is the power of imagination. Hans exists in a childlike realm where stories matter more than rules and creativity is more important than responsibility. While this frustrates the adults in his world, the film clearly sides with Hans—celebrating storytelling as a transformative force.

Yet, it doesn't entirely shy away from the costs of such a dreamy nature. Hans’s heartbreak over Doro reflects the danger of confusing fantasy with reality. His journey is ultimately one of maturing without cynicism—learning that even unrequited love can yield beauty through art.

2. Art as Emotional Catharsis

“The Little Mermaid” becomes a key metaphor within the film—not just as a tale within a tale, but as a reflection of Hans’s internal longing. His artistic output is shown as an emotional process, with stories arising organically from his joys and heartbreaks.

The film portrays the creation of fairy tales not as calculated literary feats, but as expressions of human feeling. In this way, Andersen is not just a storyteller, but a vessel of emotional truth.

3. The Artist as Outsider

Hans is an outsider everywhere he goes—too whimsical for Odense, too naïve for Copenhagen’s high society. His role is to delight others while never quite belonging. This romantic ideal of the misunderstood artist plays strongly into Hollywood’s favoured self-image, painting Andersen as both genius and misfit.

Music and Songs (by Frank Loesser)

Loesser’s songs are at the heart of the film’s charm. Catchy, lyrical, and emotionally resonant, the soundtrack blends childlike wonder with adult emotion.

Key Songs Include:

“The Ugly Duckling” – Perhaps the film’s most iconic number, with an irresistible singalong structure. It’s not just a nursery tale; it’s an anthem of finding self-worth.

“Thumbelina” – A playful and whimsical tune that showcases Kaye’s gift for patter songs and storytelling.

“Inchworm” – A deceptively simple song that contrasts arithmetic with poetic reflection. It’s haunting in its sincerity and captures the film’s philosophical depth.

“Wonderful Copenhagen” – A rousing, city-celebrating number that serves as Hans and Peter’s arrival song.

“No Two People” – A romantic duet that feels a bit conventional, but provides a melodic interlude.

The music often functions as direct storytelling, with numbers illustrating the fairy tales rather than being traditional musical interludes. This approach gives the film a distinctive structure—one that appeals both to children and adults.

Performances

Danny Kaye (Hans Christian Andersen): Kaye is the film’s engine and heart. His boundless energy, facial expressiveness, and musical versatility carry the film. He captures Hans’s innocence without making him foolish and imbues the character with sincerity that transcends the film’s artificiality. Kaye’s charm is so complete that the viewer never questions his centrality to the film’s world.

Zizi Jeanmaire (Doro): A renowned French ballerina, Jeanmaire brings poise and elegance, particularly in the ballet sequences. Though her acting is limited by language and her role’s narrow focus, she exudes a believable mix of aloofness and vulnerability.

Farley Granger (Niels): Granger brings a bit of gravity to the film as the jealous and stoic ballet master. His presence adds a necessary dose of realism to the otherwise fanciful narrative.

Joseph Walsh (Peter): As Hans’s loyal apprentice, Peter provides comic relief and a child’s-eye view of Hans’s world. His performance is sincere and helps root Hans’s adventures in human relationships.

Cinematography and Design

Shot in vibrant Technicolor by Harry Stradling Sr., the film is visually sumptuous. From the pastel houses of Odense to the grand interiors of the Copenhagen ballet theatre, each setting feels like a storybook illustration come to life.

The costume design and production design evoke 19th-century Europe through a mid-century Hollywood lens: idealized, clean, and theatrical. The ballet sequences, while not realistic, are beautifully staged and provide a dreamlike window into Hans’s imagination.

Criticisms

Historical Inaccuracy: The film’s biggest caveat is its total disregard for Andersen’s real life. In reality, Andersen was a complex, often tormented man who struggled with unrequited love, poverty, and a fraught relationship with fame. The film ignores this in favour of a childlike caricature.

Narrative Simplicity: The plot is episodic and light, more a series of musical sketches than a coherent arc. This structure suits children but may feel thin for adult viewers.

Dated Sensibilities: Some of the film’s gender dynamics and sentimentality feel old-fashioned by modern standards. Doro, for example, is more muse than character.

Reception and Legacy

Upon its release, Hans Christian Andersen was a box office success and received six Academy Award nominations, including:

Best Scoring of a Musical Picture

Best Art Direction

Best Costume Design

Best Song (“Thumbelina”)

Although it didn't win, the nominations reflect its strong technical merits.

The film became a beloved staple on television and in family home libraries for decades, especially because of Danny Kaye’s magnetic performance. It introduced Andersen’s stories to generations of children and helped solidify the idea of fairy tales as part of popular musical culture.

Conclusion

Hans Christian Andersen is a warm-hearted, fanciful musical that invites viewers to surrender to storytelling, song, and the sweet melancholy of unrequited dreams. Though not a faithful biography, it succeeds as a love letter to the spirit of storytelling. Its rich visuals, timeless music, and Danny Kaye’s unforgettable charm make it a unique entry in Hollywood’s golden age of musicals.

In a world that often demands harsh realism, Hans Christian Andersen dares to say: sometimes, it's okay to believe in fairy tales.

A delightful, if fictionalized, tribute to imagination, carried by one of Danny Kaye’s most iconic performances.