Vienna 1905: After a carnival party the famous painter Heidenick draws his otherwise engaged girlfriend Anita Helfer with very few clothes on, only blurs her face. The image makes it into ... See full summary »
Lamenting Thebian women are waiting for the men to come back from war. God Jupiter is attracted to one of them: Alkmene. He goes to earth and tries to seduce her as himself: an old man. ... See full summary »
Aspiring singer Susanne takes over for ham actor Viktor at a small cabaret in Berlin where he works a woman impersonator and per chance she's discovered by an agent, who thinks, that she ... See full summary »
1865. Katharina goes to a ball in Moscow. There she meets again Tchaikowsky, her first and only love. The young, who is now married to wealthy Michael Iwanowitsch Murakin, a man she does ... See full summary »
After accidentally killing the man who raped her and forced her into prostitution, a New Orleans woman flees to a Caribbean island. While she awaits her fiancé, the vicious local police chief sets his sights on her.
William A. Wellman
An Austrian prince hatches a plan to keep his rival, the Russian czar, busy by keeping him surrounded by beautiful women and away from the negotiating table. The Czar, however, has his own ... See full summary »
It may not be perfect technically, but this is a sensual, made with great fun, original, capricious and extravagant operetta. It has elegance, a great cast, brilliant music and songs, wit, great sets; some scenes are even a bit bizarre and fetishistic. This is not a filmed operetta, but a real film-operetta. More than just direct, Erik Charell choreographed the film. Although the film stands on its own feet, the influence of Ernst Lubitsch (pictures) is evident.
Amongst the memorable scenes (and there are many) there is the - in its time
technically challenging sequence with energetic Lilian Harvey singing "Das
gibt's nur einmal". Indeed: many operetta films have been made, but none so innovative, brilliant as this one.
This first and only German film of Erik Charell is not only a classic of early German sound film, showing all the capabilities of the UFA, but also a promising start of a film career that was not to be realized: Charell had to leave Nazi-Germany and was unable to continue his career as a film director abroad. It is curious that the film was banned by Goebbels only but in October 1937.
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