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The Only Girl (1933)
"Ich und die Kaiserin" (original title)

6.3
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Ratings: 6.3/10 from 48 users  
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Title: The Only Girl (1933)

The Only Girl (1933) on IMDb 6.3/10

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Cast

Cast overview, first billed only:
Lilian Harvey ...
Juliette
Mady Christians ...
Empress
...
Marquis de Pontignac
Heinz Rühmann ...
Didier
Friedel Schuster ...
Annabel (voice)
Hubert von Meyerinck ...
Flügeladjutant
Julius Falkenstein ...
Paul Morgan ...
Erfinder des Fahrrades
Hans Hermann Schaufuß ...
Doctor
Käte Kühl ...
Marianne
Heinrich Gretler ...
Sanitäter
Eugen Rex ...
Etienne, Diener des Marquis
Hans Deppe
Hans Nowack ...
Erfinder des Telefons
Margot Höpfner
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Storyline

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Genres:

Comedy

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Details

Country:

Language:

Release Date:

23 April 1933 (Finland)  »

Also Known As:

Ich und die Kaiserin  »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Alternate-language version of Moi et l'impératrice (1933) See more »

Soundtracks

Wie hab' ich nur leben können ohne Dich?
Music by Friedrich Hollaender
Lyrics by Robert Gilbert & Friedrich Hollaender
Sung by Lilian Harvey & Heinz Rühmann
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User Reviews

Me and the Empress
8 April 2004 | by (Los Angeles) – See all my reviews

A dashing marquis bends from his horse when he discovers a lost garter in the woods and falls. During his delirium he is serenaded by a little hairdresser. She is the person who lost the garter to begin with and has only come to get it back having borrowed it from her employer--the empress of France. The marquis mistakenly thinks he was nursed by the empress, herself, and decides to woo her.

This was Lilian Harvey's last UFA film before she left for the Hollywood. It has a weird charm, opulent sets and a great cast, but somehow never quite comes together. There isn't much chemistry between Harvey and Conrad Veidt or her second lead Heinz Ruehmann. This may have something to do with the melancholy of it's being pretty near the end of the Weimar film era and the heydey of Harvey's career. Many of the most key people at UFA had already begun to emigrate and be forced out of the business.

The tunes are good and the little subplot with Offenbach gives the film a chance to use some bits of operetta to comic advantage. Somehow, however, the film probably wasn't the best send-off for UFA's biggest star.


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