In 1845 Vienna, Johann Strauß II - Schani to his friends - would rather write and perform waltzes than anything else, this at a time when a waltz is not considered proper society music. ... See full summary »
Josef von Sternberg directed, photographed, provides the voice-over narration and wrote the screenplay (from a based-on-actual event novel by Michiro Maruyana translated by Younghill Kang) ... See full summary »
When American newspaperman and adventurer Henry M. Stanley comes back from the western Indian wars, his editor James Gordon Bennett sends him to Africa to find Dr. David Livingstone, the ... See full summary »
Charming love story set on the Erie Canal in the mid-19th Century. A farmer works on the canal to earn money to buy a farm. He meets a cook on a canal boat, but she can't even consider ... See full summary »
To avoid a taxi war, city officials blame a gang bombing on driver Joe Benton's wife Anna and put her on a ship to deport her. The mayor is speaker at a boxers' banquet where Joe pleads for... See full summary »
An Auustrian prince flees his homeland when the Nazis take over and settles in London. He meets a beautiful Austrian émigré who makes him realize his mistake in leaving. He makes a deal ... See full summary »
Aspiring actress Louise Muban attends the prestigious Paris School of Drama during the day and works at a dreary factory assembling gas meters at night. She daydreams and "acts" her way ... See full summary »
Robert B. Sinclair
In 1845 Vienna, Johann Strauß II - Schani to his friends - would rather write and perform waltzes than anything else, this at a time when a waltz is not considered proper society music. After he is fired from his clerical bank job because of his preoccupation with composing, he decides to follow his passion and form an orchestra. After some famed opera singers, including Carla Donner, hear his music, they expose Schani's music to the masses, to royalty and to music publisher Julius Hofbauer. As such, Schani becomes the toast of Vienna. With his new found musical fame, Schani's life, which includes his work in the European Revolutions, changes. He becomes torn for his love for his loving and faithful wife Poldi Vogelhuber and his more emotionally passionate but somewhat destructive love for Carla Donner, who herself is involved with Count Anton Hohenfried. Written by
On the Beautiful Blue Danube, Op.314
Music by Johann Strauß
Lyrics by Oscar Hammerstein II
Played as background music as it is being composed
Sung by a mob outside Franz Josef's palace See more »
I was prepared to find that Julien Duvivier, maestro of such astonishing French pictures as 'Pépé le Moko' and 'Carnet de bal', had sold out completely to Hollywood, but actually 'The Great Waltz' blew me away.
Yes, the story is utter hokum and bears only superficial similarity to the actual Johann Strauss II or the the Vienna of his time. Why is that a surprise to some? It's a given! Hollywood was always like that, now as ever. What Duvivier does manage to convey is the dream of Vienna, the illusory magic of the city that was the capital of musical Europe, and thereby of the world.
Duvivier made this amazing film with attention to every detail, the smallest character performance, even the extras have obviously been minutely directed. The film is always stylistically innovative, the editing fast-paced and often surprising, the style whirling, ecstatic, dynamic, and at all times slightly camp. There are so many show-stopping scenes in the film that I wouldn't even know where to start listing them. The script is wonderful, the dialogue consistently funny, interiors are luminous, the cinematography revolutionary and clearly related to what Rouben Mamoulian was doing in Hollywood in the early 1930's.
The actors? Absolutely great. Fernand Gravey does a fair job, but the two women shine above everything else. Polish coloratura soprano Miliza Korjus sings the Strauss songs in a way that admittedly sound rather corny and old-fashioned today, but as an actress, playing the opera diva that Strauss is two-timing his wife with, she is gorgeously wicked, one of the most glamourous beings even in the Hollywood of the 30's. But even she is overshadowed - by Luise Rainer who, in this picture, can do no wrong in a part that is very, very hard to make substantial. She is Strauss' long-suffering, unselfish wife, but there is absolutely no melodrama in her performance. The evolution of the chararacter that is Poldi Strauss is extremely well-calculated, and she remains the centre, the gravity of the picture. And when we think that now she has suffered long enough, she says, "Now is not a time to lie down, now is time to act!".
Forget all petty reservations and brace yourselves for a real treat, a film that time has all but forgotten, but a masterpiece none the less.
26 of 27 people found this review helpful.
Was this review helpful to you?