An Austrian prince hatches a plan to keep his rival, the Russian czar, busy by keeping him surrounded by beautiful women and away from the negotiating table. The Czar, however, has his own ... See full summary »
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 »
Flashback story of an escape from the lonely, high-security Dartmoor Prison. A jealous barber's assistant is enraged by the attentions that his manicurist girlfriend pays to a customer. He ... See full summary »
Hans Adalbert Schlettow,
Marie wants to escape from her job and also from her lover, Paul, an unemployed drunk. She dreams of going off with Jean, a dockworker. The two men quarrel and fight over Marie on two ... See full summary »
Lilian Harvey played Christel in the English, French and German versions of this film. Conrad Veidt played Metternich in the simultaneously filmed English-language version of "Der Kongress tanzt." called "Congress Dances".Pierre Magnier assumed the role in the French version. Lil Dagover, Veidt's co-star in "The Cabinet of Dr, Caligari," played the countess in all three versions. See more »
At the Vienna Congress held in 1815 the orchestra in a canteen played Franz Schubert's "Military March," which was composed in 1818. See more »
It may not be perfect technically, but this is a sensual, made with great fun, original, capricious and extravagant operetta. It has elegance, a great cast, brilliant music and songs, wit, great sets; some scenes are even a bit bizarre and fetishistic. This is not a filmed operetta, but a real film-operetta. More than just direct, Erik Charell choreographed the film. Although the film stands on its own feet, the influence of Ernst Lubitsch (pictures) is evident.
Amongst the memorable scenes (and there are many) there is the - in its time
technically challenging sequence with energetic Lilian Harvey singing "Das
gibt's nur einmal". Indeed: many operetta films have been made, but none so innovative, brilliant as this one.
This first and only German film of Erik Charell is not only a classic of early German sound film, showing all the capabilities of the UFA, but also a promising start of a film career that was not to be realized: Charell had to leave Nazi-Germany and was unable to continue his career as a film director abroad. It is curious that the film was banned by Goebbels only but in October 1937.
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