Still amazed about the way Charell turns the whole world into music. One key aspect is that it is a process, and a destructive one, at that. It's not about a steady stream of music flowing through the world at all times, but about introducing a kernel of pure music, one simple melody and then feeding it with world, taking in ever more extras, sets, props, one sequence shot at the time. Until the music has used up everything.

No one turns the whole world into music like Erik Charell.

connie eating breakfast in bed...that’s cinéma bisexual, baby

Come for the sweeping camera movements, stay for the facial expressions during the spanking scene, and be haunted for weeks by Paul Hörbiger, Heurigensänger from hell. "Und jetzt noch ein Rausschmeißer!"

"Nichtmal auf die Anarchisten ist mehr Verlass."

The 1815 Congress of Vienna was a historic conference attended by most of the leaders of Europe. Czar Alexander I of Russia (Willy Frisch) who enjoys the company of pretty women, is diverted from the meeting by a Christine, a lovely and vivacious Viennese glove seller (Lillian Harvay). Alexander romances the enchanted Christine. Their interlude ends abruptly when the escape of Napoleon from Elba brings the Congress to a sudden conclusion, and Alexander must return to Russia immediately. Christine is left with her memory of their sweet, springtime romance.

The lavish sets and costumes of this brilliant musical comedy are enhanced by the 1815 Viennese background. Lillian Harvey, singer and dancer, charms as the sweet and innocent shopgirl. Willy Fritsch, star of German cinema from 1922 to 1967, is handsome and romantic.

There was a lot of baggage I had to set aside before I could engage with this, and I really hated the music... but the whole thing was beautifully crafted, with a scattering of delightful moments... and then in the last reel, somehow it all got transmuted into the purest bliss.

A very elegant musical filled with famous German names and faces. Humorous plot and wonderful cinematic filming. Lilian Harvey is cute in her role as she gets pursued by various men set in a very glamorous presentation. Well worth your time.

There are some wonderful sequences in this (the long pan out of the beer garden fading into the opera house; Christel's trip to the villa) and the Regency costumes and sets are delicious (Lil Dagover at the opera!). There were a bunch of comic sequences that really didn't land for me, however, and they kept derailing the momentum. Also, after seeing Maskerade, movies about Vienna have a lot to live up to...

"Nichtmal auf die Anarchisten ist mehr Verlass."

Technically, this is an impressive sound film, the long-take musical sequences with fluent camera panning and circular movements are more awe-inspiring than the Hollywood musical productions at the same period. Indeed, the story of The Congress Dances resembles the ‘aristocratic’ love story in Lubitsch’s musicals, and the fairy-tale aura is embellished by the absurd political satire, though much less incisive than The Threepenny Opera which focuses on the decadence of society and the lower-life rather than the impenetrable class barrier.

connie eating breakfast in bed...that’s cinéma bisexual, baby

Come for the sweeping camera movements, stay for the facial expressions during the spanking scene, and be haunted for weeks by Paul Hörbiger, Heurigensänger from hell. "Und jetzt noch ein Rausschmeißer!"

Die damalige Großproduktion hält mich auch heute noch mit einigen inszenatorischen Einfällen, (teils) geschliffenem Humor und den zwei Liedern bei guter Laune.

Ausführliche Besprechung ab 26. April im Podcast Wiederaufführung. (Link zur Episode folgt.)

Still amazed about the way Charell turns the whole world into music. One key aspect is that it is a process, and a destructive one, at that. It's not about a steady stream of music flowing through the world at all times, but about introducing a kernel of pure music, one simple melody and then feeding it with world, taking in ever more extras, sets, props, one sequence shot at the time. Until the music has used up everything.

No one turns the whole world into music like Erik Charell.

To be honest I found this movie kind of obnoxious with humorous moments every once and awhile.
And of course I watched the film mainly for Conrad Veidt and surprise; he was one of the more entertaining parts of the movie.

On a different note the sets and amount of extras were very impressive.

" - You see, my dear Bibikoff, nowadays can't even rely on the anarchists."

The 1815 Congress of Vienna was a historic conference attended by most of the leaders of Europe. Czar Alexander I of Russia (Willy Frisch) who enjoys the company of pretty women, is diverted from the meeting by a Christine, a lovely and vivacious Viennese glove seller (Lillian Harvay). Alexander romances the enchanted Christine. Their interlude ends abruptly when the escape of Napoleon from Elba brings the Congress to a sudden conclusion, and Alexander must return to Russia immediately. Christine is left with her memory of their sweet, springtime romance.

The lavish sets and costumes of this brilliant musical comedy are enhanced by the 1815 Viennese background. Lillian Harvey, singer and dancer, charms as the sweet and innocent shopgirl. Willy Fritsch, star of German cinema from 1922 to 1967, is handsome and romantic.