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The Theft of the Mona Lisa (1931)

Der Raub der Mona Lisa (original title)
A painter working at the Louvre is struck by the Mona Lisa. When he meets a girl who he thinks resembles the painting and she wants him to become famous he has the idea of robbing the painting. Based on the 1911 real robbery.

Director:

Géza von Bolváry

Writer:

Walter Reisch
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Cast

Cast overview, first billed only:
Trude von Molo ... Mathilde, Stubenmädchen
Willi Forst ... Vicenzo Peruggia
Gustaf Gründgens ... Unbekannter
Fritz Odemar ... Direktor des Louvre
Max Gülstorff Max Gülstorff ... Oberaufseher
Roda-Roda Roda-Roda
Paul Kemp ... Polizeileutnant
Anton Pointner ... Reisender
Rosa Valetti
Alexander Granach ... Redner
Fritz Grünbaum ... Angeblicher Bilderdieb
Fritz Alberti Fritz Alberti
Fritz Greiner Fritz Greiner
Paul Vincenti
Paul Wagner Paul Wagner
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Storyline

A painter working at the Louvre is struck by the Mona Lisa. When he meets a girl who he thinks resembles the painting and she wants him to become famous he has the idea of robbing the painting. Based on the 1911 real robbery.

Plot Summary | Add Synopsis

Genres:

Drama

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Details

Country:

Germany

Language:

German

Release Date:

29 March 1932 (USA) See more »

Also Known As:

The Theft of the Mona Lisa See more »

Company Credits

Production Co:

Super-Film GmbH See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono (Tobis-Klangfilm)

Aspect Ratio:

1.20 : 1
See full technical specs »
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Did You Know?

Connections

Features Max as a Conjurer (1914) See more »

Soundtracks

Warum lächelst Du Mona Lisa?
Music by Robert Stolz
Text by Walter Reisch
Sung by Willi Forst
See more »

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User Reviews

Outstanding early German sound film has been neglected.
15 March 2002 | by MozjoukineSee all my reviews

The German films of the early thirties continued the distinction that the country's silent films had established and this is one of the best, imaginative and original.

Incensed that one of Italy's National treasures is held in a foreign museum, window repair man Forst determines to repatriate it. His method is stunningly low tech - setting the guard a chess problem and moving the painting in plain sight.

This is elaborated with remarkably assured use of the still limited European sound technique - passages of dialogue recorded in interiors and mute exterior shooting, including Paris locations, the musical theme passed on in different forms like the one in LOVE ME TONIGHT, the alternation of dialogue and music along with excellent performance and curious concepts like Forst identifying Von Mollo with his beloved painting.

The film is so good that one is left wondering about the other work done around it, and equally unfamiliar, outside German speaking areas.

The sympathies reflected do sit uneasily with our knowledge of the consequences of the alliances they represented but that's no surprise.


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