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 »

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Cast

Complete credited cast:
...
...
Der Zeichner Heideneck (as Adolf Wohlbrück)
Peter Petersen ...
Professor Carl Ludwig Harrandt
Walter Janssen ...
Paul Harrandt, Hofopernkapellmeister
...
Anita Keller - seine Braut
...
Gerda - die Frau des Professors
Julia Serda ...
Die Fürstin M. (as Julie Serda-Junkermann)
...
Zacharias, der Gaertner
Fritz Imhoff
Rest of cast listed alphabetically:
...
(as Lisl Handl)
Wiener Philharmoniker ...
Themselves
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Storyline

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 the newspaper the next day - but since he can't tell the model's name without offending her influential fiancée, he comes up with the fictional name Leopoldine Dur. Unfortunately there is a secretary with that name, who now gets into the focus of high society - and into Heidenick's, much to Anita's anger. Written by Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>

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Comedy | Romance

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Details

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Release Date:

25 January 1937 (USA)  »

Also Known As:

Mascarada  »

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Sound Mix:

(Tobis-Klangfilm)

Aspect Ratio:

1.37 : 1
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Did You Know?

Connections

Remade as Escapade (1935) See more »

Soundtracks

Mazurka
from "Coppelia"
Composed by Léo Delibes
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User Reviews

 
A Disappointing Relic
2 October 2005 | by (Chicago) – See all my reviews

Not quite what the legend surrounding it would lead you to believe, "Maskerade" is a quite predictable movie in a Schnitzlerian mode, stylistically akin to any of a number of better Max Ophuls movies of its time (e.g. "Liebelei", "La Signora di Tutti"), not to speak of such later Ophuls masterpieces as "La Ronde" or "Madame de". Willi Forst quite engagingly presents the social life of turn-of-the-century Viennese high society, much as quite a number of the characters he brings into play are stereotypes and character development seems to be outside his range.

The great Paula Wessely, an actress with few peers on the stage --- Edwige Feuillère and Laurette Taylor come to mind --- does what is a routine job as a predictable goodie-two-shoes character. On stage her voice was unforgettable (I saw her live once at the Burgtheater and once at the Akademietheater), the kind of voice you would love to listen to even in a reading of the Vienna phonebook. In this movie her splendid voice is not yet fully developed, but admittedly "Maskerade" was made when Wessely was still in her twenties. Moreover, though touched with a considerable amount of Viennese charm, Wessely was never quite a classic beauty like Isa Miranda, Ophuls' Signora, or Audrey Hepburn who would have made an excellent Leopoldine Dur.

Hans Moser does his shtick here like in any other Hans Moser movie, but without anything specific to set this supposed masterpiece above routine.

In retrospect, the funniest thing maybe is, that Olga Tschechowa, an undistinguished actress with good, though hardly very good, looks, afflicted by an unmistakable frigidity, was revered in the German-speaking world of her time (the Thirties) as some exotic femme fatale.

In the role of the dowager, the respectable Julia Serda pales in comparison with say Dame Edith Evans, the doyenne of moviedom dowagers. The Serda character's "In my days things were more exciting" gimmick goes well once, or even twice, but by the time it is getting to be repeated over and over, one feels that Forst is catering to the taste of some Viennese grannies and not to the needs of a movie of genuine integrity.

On the whole, the rather far-fetched story still manages to flow quite well. "Maskerade" entertains, but it also disappoints.


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