6.2/10
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5 user 3 critic

Die goldene Stadt (1942)

Anna Jobst is the daughter of a rich, conservative farmer. Living on the bank of the Moldau, she wishes nothing more than follow the river to Prague, the "Golden City".

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(play), (screenplay) | 1 more credit »
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2 wins & 1 nomination. See more awards »

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Cast

Credited cast:
...
Anna 'Anuschka' Jobst - Melchiors Tochter, die von Prag träumt
Eugen Klöpfer ...
Melchior Jobst - Annas Vater, ein Bauer
...
Donata Opferkuch -Tonis Mutter (as Anni Rosar)
Dagny Servaes ...
Frau Tandler
...
Ingenieur Christian Leidwein
Emmerich Hanus
Kurt Meisel ...
Toni Opferkuch - Annas Vetter, der Anna verführt
...
Großknecht Thomas - Annas Verlobte
Liselotte Schreiner ...
Wirtschafterin Maruschka
...
Ingenieur Nemerek (as Hans H. Schaufuss)
Frida Richard ...
Frau Amend
Inge Drexel ...
Magd Julie
Ernst Legal ...
Pelikan - ein Bauer
Rest of cast listed alphabetically:
Valy Arnheim ...
Wengraf - der Notar
Curt Cappi ...
Ein Bauer
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Storyline

Anna Jobst is the daughter of a rich, conservative farmer. Living on the bank of the Moldau, she wishes nothing more than follow the river to Prague, the "Golden City". Written by Kees van Leijenhorst

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Drama

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Release Date:

25 December 1942 (Netherlands)  »

Also Known As:

De gouden stad  »

Company Credits

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Technical Specs

Sound Mix:

(Tobis-Klangfilm)

Color:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Banned in postwar Germany by the Allied Military Government censors. See more »

Connections

Featured in Münchhausen: Ein mythos in Agfacolor (2005) See more »

Soundtracks

Die verkaufte Braut
(The Bartered Bride)
Composed by Bedrich Smetana
(1863-1866)
See more »

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User Reviews

 
Emotional and beautifully shot
2 June 2005 | by See all my reviews

Emotional and beautifully shot, "Die goldene Stadt" was one of the biggest hits of German cinema in the forties, not only in Nazi-Germany, but all over Europe. It was Harlan's first feature film in Agfacolor and clearly his use of color is not as elaborate yet as in "Immensee" or "Opfergang", but still quite impressive, especially in Söderbaum's vision of the "golden city" and the finale on the moors. Söderbaum's acting has a natural and sometimes dreamlike quality - no doubt she was one of the stars of European cinema the camera really loved. There are some ideological undertones reflecting the political climate, but certainly not more than in Russian oder American films of that period.


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