Starring Fernand Gravet, Luise Rainer, Miliza Korjus, and Hugh Herbert
Directed by Julien Duvivier
Music by Johann Strauss Sr.; Lyrics by Oscar Hammerstein II
Jeanette MacDonald and Nelson Eddy were far from MGM's only operetta stars during the 1930's. Gravet, known as Gravey in his native Belgium, had been a star in Europe since the early 30's. He came over to try Hollywood in 1937 and initially landed at Warner Brothers before moving to MGM. They promoted him hard for this lavish film, giving them their Oscar-winning star actress Rainer as his leading lady and an enormous cast with . Producer and studio head Irving Thalberg had heard Korjus, a Polish-Estonian soprano who was then the toast of the Berlin State Opera, on recordings and hired her sight unseen. How does one of the studio's most prestigious productions of the late 30's look nowadays? We begin at a bank in Vienna, Austria in 1844, where Johann Strauss II (Gravet) is writing waltzes instead of bank books, and find out...
The Story: Despite his father's wishes that he go into banking, Strauss is glad they fired him. He brings together a group of unemployed musicians to play his waltzes. At first, the gig they manage to wrangle at Donmeyer's Cafe doesn't go well, until opera star Carla Donner (Korjus) and her retinue stop in to hear them while their carriage is being repaired. That brings in other people, and they bring people, until Donmeyer (Herman Bing) has a cafe full of people waltzing.
Strauss is now on his way, his music very popular. He's even able to marry his sweetheart Poldi Vogelhuber (Rainer). He hasn't given up his more rebellious tendencies, though. He writes a march for the student revolutions of 1848, and even gets arrested. He also accidentally gets Carla arrested when she's caught up in them, too. A ride through the woods after they escape leads Strauss to write one of his most enduring hits, "Tales of the Vienna Woods."
After Carla sings his songs at a party for aristocracy, he manages to get a publisher for his work. They grow closer while he writes an operetta for her...much to Poldi's consternation. Strauss thinks he knows who he wants, but Carla knows better. Strauss, however, will always have his music, and the love of the people of Austria, who adore his work and the sweeping dance created with it in mind.
The Song and Dance: The word "sumptuous" was created for lavish productions like this. Everyone is decked out in acres of sequins, ruffles, puffs, bows, and lace, even the men. Vienna, with its sun-dappled woods and charming cafes, is recreated in all its lilting glory. Gravet makes an intense and likeable Strauss, especially early-on, when he's still pushing his music and marching with revolutionaries. Korjus was nominated for a supporting actress Oscar for this film, and she simply sparkles as the opera diva who becomes Strauss' muse and one of his biggest supporters. Duvivier manages a few good touches, including two well-done montages.
Favorite Number: Our first number is the first big chorus routine. The customers descending on Donmeyer's sing of how "I'm In Love With Vienna" and in love with dancing the waltz. She gets a comic rendition in before the tenor Schiller (George Houston) takes over. It's a thrilling moment, with all the dancers whirling around the stage. Strauss also gets "Artists Life, Op 316" as a goofy song with his orchestra. The "Revolutionary March" is even more thrilling, as students take to the streets to protest the monarchy and the Emperor's behavior. Korjus also gets to sing several excerpts from Strauss' biggest hit operetta, Die Fleidermous.
The big one her is the absurd-but-adorable "Tales of the Vienna Woods." Riding together after being arrested and released at the student march, Strauss notes the clip-clopping of the horses' hooves, and how even the birds chirping sounds like a waltz. This somehow encourages him to make up his most famous composition right then and there, with Korjus getting in on it, too. It's ridiculous songwriting, but thrilling movie-making.
Trivia: Remade under the same title in 1972.
Not related to a 1934 stage operetta called The Great Waltz.
Despite making money overseas, especially in Australia, the high cost and lack of stars made this one of MGM's bigger flops of 1938.
What I Don't Like: First of all, even MGM admits in the opening that this has nothing to do with Strauss' real life. He had an ongoing feud with his equally famous composer father until the latter's death that isn't even mentioned here. He was, apparently, stuck working in a bank per his father's wishes before he went into composing, he cobbled together his first orchestra from a group of out of work musicians, and his first orchestra job was with a restaurant called Donmyer's. Poldi and Carla totally fictional. Considering she gets top billing, Ranier doesn't get much to do until late in the movie, when she confronts Carla backstage.
The Big Finale: The elegant numbers alone make this worth checking out for fans of operetta, Ranier, or Strauss' music.
Home Media: Easily found on DVD and streaming, the former in a remastered edition from the Warner Archives.
No comments:
Post a Comment