Focuses on the Weimar Republic (1918-1933) and its 'collective spirit' in cinema. The purpose of film as a cultural tool is examined. Based on celebrated sociologist Siegfried Kracauer's seminal book 'From Caligari to Hitler' (1947).
Hans Henrik Wöhler,
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When one watches a very old film one has to expect something old-fashioned and rather fuddy-duddy. When one watches an old film the script of which was co-written by Billy Wilder one can expect something that is, above all, extremely funny and a pleasure to watch. Regarding this musical, my expectations were disappointed.
Two window-cleaners with identical first names, one decent, the other more impulsive, compete in achieving the favour of a young girl, who dreams of being an actress in Hollywood. That's the story, and as trivial as the story are the songs the characters suddenly break out singing. Moreover, the songs are also boring and schmaltzy rather than fast and funny. The same is true for the dialogues and the whole plot. The `comedy' part in the description `musical comedy' comes off badly.
The glorious Paul Hörbiger plays a part that offers him no chance to shine but forces him to hide his Austrian accent and say lines like `So ein Quatsch!'. Why on earth did he accept this role? Lilian Harvey, on the other hand, portrays the untalented artist with slightly too much effort. When she jumps around hysterically, we really want her to stay at home and cook.
By the way, it is not my misogynous opinion I'm expressing here but the tone of the film. Obviously, a touch of nazism slipped into the story at a time when the ideology was already present. Just pay attention to the `happy'-end of the film and to the title: `A Blonde Dream'. From this point of view, of course, the movie can act as an interesting piece of history. But for Sunday afternoon entertainment, it is much too dull.
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