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Liebelei (1933)

7.8
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Ratings: 7.8/10 from 763 users  
Reviews: 11 user | 9 critic

Vienna in the beginning of the twentieth century. Cavalry Lieutenant Fritz Lobheimer is about to end his affair with Baroness Eggerdorff when he meets the young Christine, the daughter of ... See full summary »

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(uncredited)
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Title: Liebelei (1933)

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Cast

Complete credited cast:
...
Der alte Weyring - Kammermusiker
Magda Schneider ...
Luise Ullrich ...
Mizzi Schlager
Gustaf Gründgens ...
Olga Tschechowa ...
Carl Esmond ...
Oberleutnant Theo Kaiser (as Willi Eichberger)
Wolfgang Liebeneiner ...
Paul Otto ...
Major v. Eggersdorff
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Storyline

Vienna in the beginning of the twentieth century. Cavalry Lieutenant Fritz Lobheimer is about to end his affair with Baroness Eggerdorff when he meets the young Christine, the daughter of an opera violinist. Baron Eggerdorff however soon hears of his past misfortune... Written by Vincent Merlaud <merlaud@studi.mathematik.hu-berlin.de>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

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Details

Country:

Language:

Release Date:

27 February 1936 (USA)  »

Also Known As:

Flirtation  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
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Featured in Die Nacht der Regisseure (1995) See more »

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User Reviews

capturing as classic music
28 October 2004 | by See all my reviews

A wonderful picture that shows how early in his career Ophuls mastered melodrama. As melodrama indicates, it's drama with music, and from the start Ophuls sets in motion an operistic, artificial mood. Every performance is self-conscious, aware of being representing; all sets are shown thoroughly, characters leave the scene and the camera remains a few seconds in the empty decor; even the way the snows falls from the sky appears to be fake. Still the film has an admirable freshness and engages the audience in an almost hypnotic trip, to which Ophuls' floating camera and his modern, dramatic use of the score contribute big time. Max Ophuls can be paralleled with Douglas Sirk as a director that purposely breaks up with any trace of reality in order to convey a truth that is purely cinematic.


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