6.8/10
209
6 user 2 critic

Ludwig II: Glanz und Ende eines Königs (1955)

King Ludwig II of Bavaria is frustrated, having to accept parliament's will to join Bismarck, rather he his cultured Habsburg friends, in wars. His love-life being as fruitless, he seeks ... See full summary »

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(screenplay), (adaptation) | 1 more credit »
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2 wins & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Prinzessin Sophie
Paul Bildt ...
Friedrich Domin ...
Rolf Kutschera ...
Herbert Hübner ...
Robert Meyn ...
Professor Dr. Gudden
Rudolf Fernau ...
Willy Rösner ...
Minister von Lutz
...
Fritz Odemar ...
General von der Tann
Erik Frey ...
Albert Johannes ...
Fürst Hohenfels
Erica Balqué ...
Cosima von Bülow
Walter Regelsberger ...
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Storyline

King Ludwig II of Bavaria is frustrated, having to accept parliament's will to join Bismarck, rather he his cultured Habsburg friends, in wars. His love-life being as fruitless, he seeks comfort in art. But building fairytale castles and an even grander opera for his musical idol Wagner proves so expensive, his cabinet ends up resorting to formally challenging his mental health, plausible as his beloved brother Otto contracted schizophrenia earlier. Tragedy now lurks in Ludwig's prison-castle. Written by KGF Vissers

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1959 (USA)  »

Also Known As:

Ludwig II  »

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(Technicolor)

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1.33 : 1
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Featured in Klaus Kinski - Ich bin kein Schauspieler (2000) See more »

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User Reviews

Lovely to look at, but not much more to offer
19 July 2004 | by (Hannover) – See all my reviews

The rather trite and witless script about the life of Ludwig II. of Bavaria, first cousin of the ill-fated Elisabeth von Oesterreich, better known as Sissi, is told by the usual talented Helmut Kaeutner in a wooden and uninspiring way.

Chief problem is O.W. Fischer, fresh after a string of hits, mostly opposite Maria Schell, who to some degree, believed to be the reincarnation of the legendary king himself. His performance is way over the top, to say at least, lacking any depth or even minimal understanding.

The pic's only saving grace is Ruth Leuwerik, again dressed in period costumes and hoop-skirts and looking lovely, as the tormented and doomed Sissi. Leuwerik's regal beauty and patrician manners fit the character like a glove and she steals each scene she's in with her subtle and perfectly nuanced performance. Her sleepy but alert eyes are always saying things not written in the script.

Compare Ruth's tender performance to the sugary confection of the 'Sissi' trilogy or Romy Schneider's later over-nervous and hysterical effort in Visconti's visually stunning but equally empty version some decades later and you see a great, much underrated actress of highest order.


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