7.2/10
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7 user 4 critic

Der Kongreß tanzt (1931)

Vienna glove-sales-lady Christl falls in love to Czar Alexander. Metternich tries to use this to keep him out of the conferences of the Vienna Congress from 1815.

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Cast

Complete credited cast:
...
...
Czar Alexander of Russia (as Willi Fritsch)
Otto Wallburg ...
...
Carl-Heinz Schroth ...
Pepi, his Secretary (as Carl Heinz Schroth)
...
The Countess
...
The Princess
Margarete Kupfer ...
The Countess
Julius Falkenstein ...
The Minister of Finance
Max Gülstorff ...
The Bürgermeister
...
Heurigen Singer
Boris Romanoff ...
Dancer
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Storyline

Vienna glove-sales-lady Christl falls in love to Czar Alexander. Metternich tries to use this to keep him out of the conferences of the Vienna Congress from 1815. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

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Details

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Release Date:

25 April 1932 (USA)  »

Also Known As:

Congress Dances  »

Company Credits

Production Co:

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Technical Specs

Runtime:

| (DVD edition)

Sound Mix:

(Klangfilm)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

Lilian Harvey played Christel in the English, French and German versions of this film. Conrad Veidt played Metternich in the simultaneously filmed English-language version of "Der Kongress tanzt." called "Congress Dances".Pierre Magnier assumed the role in the French version. Lil Dagover, Veidt's co-star in "The Cabinet of Dr, Caligari," played the countess in all three versions. See more »

Goofs

The Gala Opera performance features Borodin's Polotsvian Dances. These were first performed in 1890, sixty-five years after the film is set. See more »

Connections

Featured in Cinema Europe: The Other Hollywood (1995) See more »

Soundtracks

Das muss ein Stueck vom Himmel sein, Wien und der Wein
Music by Werner R. Heymann
Lyrics by Robert Gilbert
Sung by Paul Hörbiger
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User Reviews

 
Amazing
26 December 2005 | by (Belgium) – See all my reviews

Der Kongress tanzt is a German operetta move, but it's not as awful as that sounds. In fact, it's pretty remarkable.

The movie has a wit reminiscent of Lubitsch and scenes that seem almost too dirty for their times (including a very funny almost-s&m scene), which director Erik Charell films with breathtaking virtuosity.

There's a musical sequence where the heroine rides in a carriage to her new villa, filmed in long takes where the camera just tracks and tracks and tracks, through the village, through the market place, through the fields and then goes on as she walks into the house, one of the most visually amazing musical numbers I've seen.

Erik Charell was a Jew whose career was cut short by the Nazi's. He fled to the US, but apparently never made it in Hollywood and now only has two film credits to his name. A tremendous shame because, based on the evidence of this film, he could have been one of the greats.


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