Original Title: Liebeswalzer. Sound film operetta 1930; 84 min.; Director: Wilhelm Thiele; Cast: Lilian Harvey, Willy Fritsch, Julie Serda, Georg Alexander, Hans Junkermann, Viktor Schwannecke, Karl Ettlinger, Karl Ludwig Diehl; Ufa-Klangfilm.
A princess is set to be betrothed to an archduke, but instead of the archduke himself, he sends his secretary in his place. To the princess’s surprise, she instantly falls in love with the secretary. Fortunately, the story has a happy ending when it is revealed that the secretary is actually the son of an American car king, and his wealth helps to bolster the small country.
Summary
At the Fould automotive factory in Detroit, business is booming and the new four-wheel brakes are a success. Rubber prices remain steady and all is going well, except for Bobby, the factory owner’s son. Although Bobby is smart, he tends to make foolish decisions, which has caused a strained relationship with his father. This tension has grown to a point where Bobby must either be expelled or his father may suffer a stroke.
Fortunately, Bobby comes across a car breakdown of Archduke Peter Ferdinand on his world tour. Bobby successfully repairs the damage, earning the goodwill of the amiable prince. Unaware of Bobby’s true identity, the Archduke offers him the position of secretary, chamberlain, and travel marshal, making him a “jack-of-all-trades”. Seeing this as a chance to serve his father right, Bobby accepts the Archduke’s offer and embarks on a journey with the prince, leaving everything up to the capable secretary.
Peter Ferdinand, a high princely husband and father, delights in receiving a telegram from his wife Mama inviting him to her sixtieth birthday celebration. Little does Peter know, however, that the birthday is merely a ruse to marry the Archduke to Princess Eva of Lauenburg. Upon arriving in Cuxhaven, the Archduchess cunningly informs her son that he is to represent her at the Duchess of Lauenburg’s jubilee. Peter and Bobby board a plane and land in Lauenburg, where they are joyously welcomed by the population. Ever fond of pretty girls, Peter quickly makes friends with the Swan Innkeeper’s daughter. His motto being:
I know the world in all its forms,
I know the secrets of the Earth,
Faithful I now will be, and my love will be true,
My heart, my mind, and my soul, they all belong to you,
You are the most beautiful girl I have ever seen,
You’re the one who makes my heart beat.
You’re always in my mind, and you never leave me,
And where I am, my love for you will always be.
The handsome Archduke learns of a planned assassination of his personal freedom from a charming young woman. He immediately flees and leaves a note for his faithful servant, Bobby: “Please take care of it alone!” Bobby, pressured by all the courtiers, can do nothing else. He dons Peter Ferdinand’s military uniform and then attends the grand reception. He is honored by the joyous mother of the country and the bride, by the population, and by all present. Princess Eva refuses to be married off against her will. She is determined to keep her freedom and her maidenhood, no matter the cost. Bobby is relieved; he had no intention of marrying her anyway. However, as he holds her close in an embrace during a dance, the waltz turns into a romantic one. The violins play a sweet melody as the two share a moment:
Don’t say yes, don’t say no,
Let’s just go with the flow,
A love so strong, it can’t let go,
A dance we’ll share, no need to know,
The truth that lies inside our souls.
Don’t say yes, don’t say no,
Your heart will never show,
The secrets that it holds, of love so deep and low,
Let go of your fear and doubt,
Just let your feelings out.
Bobby is filled with dread as the Princess has changed her mind and now wants to marry him, despite his refusal. Eva is furious and Bobby is deeply unhappy. To make matters worse, the real Peter Ferdinand arrives and is instantly smitten with the beautiful Princess. Bobby receives a slap to the face when he too is rejected. Desperate, he cautiously approaches the hostile Eva and, with sincere remorse, reveals the entire situation. Eva’s anger melts away and she falls into Bobby’s arms joyfully. The real Peter Ferdinand can only resign himself, as Bobby triumphs yet again.
The serene silence – the violins play a song of love divine
Do you need any more proof that we fit just fine?
Our love is true, unmistakably divine
Hold me tight and let us entwine
Believe me, only us two
Can feel this kind of bliss divine.
Ernst Jäger’s review in Film Kurier No. 35 (February 8, 1930)
Audiences erupt in jubilation upon the premiere of this German film by Ufa, hailing it as one of the best sound comedies in the world’s film repertoire. Erich Pommer’s work here is a titanic achievement, taking a light and humorous operetta and managing to maintain its levity despite the great effort. Highly original in style, this movie is certain to remain relevant for years to come, and its technical sound quality is second to none even today.
This film surpasses all others in its tone, as its dialogue usage creates a cinematic flow that is symphonic and never-ending. Not a single scene stands still, with no spoken or played out situation to inhibit the humorous development of a typical operetta plot set in a small, cheerfully caricatured capital with its royalty and bourgeoisie, its most exalted romantic couple, and a host of scorners and scorned. The newest genre of film, the “sound film operetta,” may cause fear of stars breaking out into song, choral interludes and revue girls emerging from the ground. However, none of this occurs in this genre. It is composed on a completely different level, distancing it from the theatre and enriching the silent film greatly. Within its filmic structure, it is a special case. It is full of punchlines, yet never loses its cohesion. Every scene is enhanced with a second and third layer of meaning, yet it remains uncluttered. Every second, every turn is a surprise; without pause, without break, the delightful affair from Lauenburg speaks, plays and sings as the Princess chooses the Dollar Prince instead of the European royalty to wed, eliciting delight from the audience. Hans Muller and Robert Liebmann capture the quaintness of Alt-Hauenburg in the Lubitsch-Kröly style, with its abundance of curiosities. Drawing from the good 1911 vintages of Simplizissimus, they bring to life the choirs and fire brigades, honorary bridesmaids, and the town band, while letting the townspeople experience the happenings of the castle through the radio. The amusing court provides the backdrop for the romantic comedy that unfolds, as the story of the princess, chauffeur-millionaire, and archduke unfolds. The film stands out for its abundance of visual and verbal jokes. Operetta librettos are typically lacking in humor, yet this sound film navigates even the low points with ease. The dialogue is smooth and the visual ideas are expertly executed – a formidable combination of image and word! It is a guaranteed way to combat boredom, when a film is as skillfully crafted and captivating as this one. Towards the end, a few seconds take on a darker tone. The goblins no longer hop around and people become as serious as in Nina Petrovna’s presence.
The dozen-plus remarkable performances by the cast have the audience captivated. Georg Alexander – his greatest film success to date – is the most charming of bonvivants in this talking picture. Every line of his “Archy” elicits the well-deserved laughs. Willy Fritsch – funny once again. When the situation gets serious, he still may struggle a bit with the dialogue, but all in all, he is a great guy whose role is worthy of the era. Lilian Harvey exudes sex appeal as she dons the Renné-Hubert costume, sometimes a little flustered but always brave. She particularly shines when she gets to be the evil blonde princess, hitting all the right notes with her words and gestures.
Karl Ettlinger, the broadcasting authority of Lauenburg, is a master of fine comedy, speaking clearly and dutifully as the role requires. Karl Ludwig Diehl is the ideal operetta court marshal. Julia Serda is the chattering princess, Lotte Spira provides a warm and motherly comedic tone. Viktor Schwannecke is the desperate doctor Jüttner of the film, Marianne Winkelstern gracefully adds to the scene, Willy Prager impresses with a line and a gesture to make a real highlight, while Junkermann and Biebrach contribute in their own ways. Director Wilhelm Thiele carefully crafts every scene, right down to the piccolo quartet. Yes, he does not forget to take care in the frantic pace of technical shenanigans and magic tricks. What a challenge it must be to make it through with the canned state of the microphones with which this film began. One can sense that as the technology used in the production grows, so does the director’s confidence in the sound. He does not quite keep up in the modulation of the dialogue of his actors, but the peak performances in many of the conversations in this film demonstrate how, in the end, even the machine yields to the director’s spirited baton.
The dialogue and visual imagery of the film create its inner musicality – less so the operetta music. It is not Oscar Straus who has written the waltzes, but Werner R. Heymann, a jack of all trades, a skilful illustrator, who is familiar with fashion from Spoliansky to Strawinsky – and still manages to find a few hummable waltz beats. His hit song “You Are the Sweetest Girl in the World” [“Du bist das süßeste Mädel der Welt”] remains in everyone’s mind. Stylistically interesting, this operetta film sets the hit song behind the plot – truly cinematic solutions, surprising arrangements from which development will undoubtedly learn. Heymanns’ musicality has contributed a wealth of interrelationships between cinematic and musical jokes. Just imagine the visible “orchestra jokes” in the city garden, in the castle. In addition to the unnamed vocalists, Austin Egen whispers his most effective refrain, demonstrating cleverly maintained vocal control before the microphone. Both film buffs and Alfred Braun can learn from this. The Paul-Godwin Band and Wein Syncopators provide the musical accompaniment, while the amplifier and occasionally the microphone operator guide the action. Thankfully, their presence is beneficent when it comes to the dialogue, guaranteeing the success of the sound film. The light whirlwind of words is, aside from a few proud praises uttered into the microphone, the technical accomplishment of the film. The heart-wrenching noises during the art are likely only premiere accidents. Dr. Erich Leistner mans the sound camera and he is sure to be able to write a book about this sound film work – and at the end be wittier than when he started. Werner Brandes and K. Tschetwerikoff display impressive camerawork, showcasing the loose camera-musicality found in the best of Erich Pommer’s silent era productions. They glide shots over stairs and corridors, play with shadows and tricks, and introduce auto production with lightning speed; each aspect of their work deserves the highest praise. Erich Kettelhut is responsible for the architecture of the production, which is held in the most noble of styles. What remains a “miracle” – a gentle, light muse of cheerful creation – is that the machinery softens and the membranes respond to the human voice without even trembling. There is a pilgrimage to this work in every city and everyone laughs peacefully when the heavy artillery of technology launches flower bouquets.
