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Supported avidly by his mother and more reluctantly at first by his father, a working-class Austrian boy joins the Vienna Choirboys, where he proves to be unusually talented. The standard ... See full summary »

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Cast

Credited cast:
Vincent Winter ...
Sean Scully ...
Peter Weck ...
...
Bruni Löbel ...
Mother Fiala
Fritz Eckhardt ...
Denis Gilmore ...
Hennie Scott ...
Gunther Philipp ...
Radio Announcer
Hermann Furthmosek ...
Hans Christian ...
Walter Regelsberger ...
Rest of cast listed alphabetically:
Heinz Grohmann ...
Heidi Grübl ...
Bernard Hindinger ...
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Storyline

Supported avidly by his mother and more reluctantly at first by his father, a working-class Austrian boy joins the Vienna Choirboys, where he proves to be unusually talented. The standard initiation ordeals which new boys must endure at the hands of their seniors are intensified in his case because he has aroused the jealousy of Peter, the head chorister, by singing a solo which Peter had long sung himself. The fact is that Peter's voice is breaking, and with a broken voice often comes a broken heart. But, encouraged by the director and all the boys, Peter begins to develop in a new role as composer and conductor. Written by Paul Emmons <pemmons@wcupa.edu>

Plot Summary | Add Synopsis

Taglines:

BOYSterous DOGS and the DOGgondest BOYS ...together they spell FUN! [double bill with re-release of "Lady and the Tramp"]

Genres:

Family | Comedy | Music

Certificate:

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Details

Official Sites:

Country:

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Release Date:

26 September 1962 (USA)  »

Also Known As:

Akár az angyalok  »

Filming Locations:


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Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

1.75 : 1
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Did You Know?

Trivia

On its first (and possibly only) theatrical run, this film was shown as the second feature on a double bill with the 1962 re-release of Lady and the Tramp (1955). See more »

Goofs

The program for the Sydney, Australia concert misspells Sydney as Sidney. See more »

Quotes

Peter Schaefer: Bet I can beat you to the top.
Tony Fiala: Bet you can't.
See more »

Connections

Featured in The Barefoot Executive (1971) See more »

Soundtracks

Guten Abend, gute Nacht
Written by Johannes Brahms
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User Reviews

Glimpses of glory oft departed
6 September 1999 | by (Philadelphia) – See all my reviews

This movie seems to have quickly passed into obscurity as a piece of fluff worthy of no more consideration than a dated 1960s travelogue. So I considered it myself when first viewing it in the cinema, as a contemporary of Peter and the other older choristers portrayed, shortly before perceiving how precious it was to have enjoyed, even on a humbler scale and for only a matter of weeks, a similar experience. One could take such things (films and choirs) for granted in those days, but what a mistake that was: in the ensuing decades, boychoir after boychoir in America was sabotaged on whatever conceivable pretext proved most expedient. They are now a gravely endangered species, as little sympathy as that may evoke from people oh-so-concerned about endangered species of other kinds.

It was a movie, however, which I never forgot. I soon yearned to be able to see it again, and it has been quite galling to see it systematically neglected even in places which purport to specialize in offering Disney movies of the period. Finally finding it, I marveled at its authenticities: the fine music to which it treated the audience; the vocal training and technique which it adumbrated; the power and glory of possessing a beautiful treble voice, such that boys otherwise as eager as any to mature into manhood could shed tears at its passing. I doubt that any such genuine presentation would be considered viable for American audiences now. Surely such an attempt would be trivialized and bastardized today even to a much greater extent than perhaps it was then.

Popular attention is finally devolving, if belatedly and only as an issue of self-preservation, upon the legacy of incompetence which socio-political trends have bequeathed to the raising of boys in the past generation. I commend this film, and the institution which it shows, as one redress whose value, proved over centuries, remains undiminished and ripe for recovery.


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