An American millionaire, who had always bad luck with women, bets that he can live without them for five years. But after four and a half years travling around on his yacht, he rescues a ... See full summary »

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Cast

Credited cast:
...
...
Sandercroft
Felix Bressart ...
Jean
Margo Lion ...
Eine Stimmungssängerin
Oscar Marion ...
Jack (as Oskar Marion)
Julius Falkenstein ...
Dr. Baskett
Hermann Speelmans ...
Tom
Theo Lingen ...
Rhinelander
Raoul Lange ...
Der Spanier (as Raoul Langen)
Louis Brody ...
Der Koch
Rina Marsa ...
Claire
Konstantin Kalser ...
Der Schiffsjunge
Hans Behal ...
Charlie
Rest of cast listed alphabetically:
Mischa Spoliansky ...
Piano Man
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Storyline

An American millionaire, who had always bad luck with women, bets that he can live without them for five years. But after four and a half years travling around on his yacht, he rescues a lady from drowning in the English Channel. Written by Stephan Eichenberg <eichenbe@fak-cbg.tu-muenchen.de>

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based on novel | See All (1) »

Genres:

Comedy | Musical

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Details

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Release Date:

27 July 1931 (Germany)  »

Also Known As:

No More Love  »

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Runtime:

Sound Mix:

(Klangfilm)

Aspect Ratio:

1.20 : 1
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Connections

Alternate-language version of Calais-Douvres (1931) See more »

Soundtracks

Lang' ist es her
Lyrics by Robert Gilbert
Music by Mischa Spoliansky
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User Reviews

Early German musical has wide spaced indicators of its director's future
25 November 2010 | by (Australia) – See all my reviews

Litvak's undistinguished second European feature comes in a couple of languages and uses montage and moving camera to try to disguise the thinness of it's script.

A very Germanic looking Statue of Liberty introduces New York playboy Liedtke. Complete with receding hair line and heavy make up, he is no more plausible a romantic lead than he was in Lubitsch's OYSTER PRINCESS / Die Austernprinzessin and SUMURUN more than a decade before.

To end his disastrous encounters with women, he sails off on his re-named yacht, with a crew comic butler Bressart has recruited among similarly disenchanted water front low lifes. Years on, things are already getting musical comedy tense, even before they they pull trim Lilian Harvey, in her one piece and bathing cap, from the English Channel. Harvey was at her peak (CONGRESS DANCES is made the same year) and makes a lively impression, though her one dance number, doing deck calisthenics, includes a really awkward cart wheel.

Things are a bit more interesting on shore, with Lilian got up as a news boy, mixing with the real Nice Carnival crowd, a favourite setting for the Russian ex-pat film makers.

Litvak's style is still developing, with the first attempts at things in his later, better films CHANSON D'UNE NUIT and COEUR DE LILIAS. He has however begun as he intends to go, with name stars and skilled collaborators like Planer or Margo Lion (Polly in the Pabst OPERA DE QUAT'SOUS) whose Zanzi-Bar number is a highlight and a striking demonstration of mobile camera. This probably transmitted to assistant director Ophuls.

The technical razle-dazzle makes the film film appear to be made years later but it doesn't sparkle. The intrigue never involves. The numbers are un-memorable. Bressart's comedy is unfunny. The lead looks like Harvey's father and the studio filmed cabins never seem connected with the real ship deck scenes.


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