Josef Egger Movies

A German language film in which a man needs a wife and children in order to get a job. ~ Rovi

By the time Sergio Leone made this film, Italians had already produced about 20 films ironically labelled "spaghetti westerns." Leone approached the genre with great love and humor. Although the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961), Leone managed to create a work of his own that would serve as a model for many films to come. Clint Eastwood plays a cynical gunfighter who comes to a small border town and offers his services to two rivaling gangs. Neither gang is aware of his double play, and each thinks it is using him, but the stranger will outwit them both. The picture was the first installment in a cycle commonly known as the "Dollars" trilogy. Later, United Artists, who distributed it in the U.S., coined another term for it: the "Man With No Name" trilogy. While not as impressive as its follow-ups For a Few Dollars More (1965) and The Good, the Bad, and the Ugly (1966), A Fistful of Dollars contains all of Leone's eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Not released in the U.S. until 1967 due to copyright problems, the film was decisive in both Clint Eastwood's career and the recognition of the Italian western. ~ Yuri German, Rovi

The trilogy on Franz Josef, Emperor of Austria and his queen Empress Elizabeth by director Ernest Marischka has been cut and spliced to make this interesting though slow-paced, two and a half-hour compilation costume drama. The tale starts out with the courtship of the future queen, known as "Sissi" (Romy Schneider, who made her screen debut in the first of the three dramas), an attractive and lively young woman. After Franz Josef (Karl Boehm) falls in loves and captures Sissi's heart, they plan their wedding and head into the topic of the second feature in the series, the coronation of Franz Josef in Budapest. Finally, Sissi is shown as being instrumental in helping to keep the peace -- or obtain it -- among the belligerent nations of Europe. The original titles of each of the three separate dramas were Sissi, Sissi, die Junge Kaiserin, and Sissi, Schicksalsjahre Einer Kaiserin. ~ Eleanor Mannikka, Rovi

Based on a play by Arthur Schnitzer, this is a rather flat remake of the 1932 film Liebelei that featured Magda Schneider as Christine. Director Pierre Gaspard-Huit keeps it all in the family by putting Schneider's daughter Romy Schneider in the top female slot. Opposite her is newcomer Alain Delon in his first lead role, yet to reach his stride on the silver screens in France. The setting is 19th-century Vienna and Franz (Delon) is a young lieutenant who has fallen in love with Christine, a charming opera singer. But Franz' feelings are misunderstood -- a wealthy baron is certain that the lieutenant is after his wife and as a result, challenges him to a tragic duel. ~ Eleanor Mannikka, Rovi

Tomi Streiff directs this screwball road movie about a guy, a girl, and a cow. Country bumpkin Ela Thier (Isabella Parkinson) is a librarian journeying off for a new job in a remote German village. A trusting soul, she gets bilked out of all her money by a sleazy con man and is forced to hitchhike. She is lucky enough to be picked up by burly plumber Tim (Oliver Reinhard), who is driving his truck back to his black forest burg. He is set to get hitched in a couple of days -- his wedding gift, the titular bovine, is in the hauling bay -- and he is beginning to have second thoughts. With the appearance of Ela, Tim starts having third and fourth thoughts about his impending nuptials. ~ Jonathan Crow, Rovi

Two of Charlie Chaplin's talented offspring -- Charles Jr. and Sidney -- make a rare joint appearance in the German comedy Columbus Entdeckt Kraehwinkel (Columbus Discovers Kraehwinkel). The Chaplin boys play a couple of American ex-GIs who return to the tiny Teutonic village of Kraehwinkel after the war, there to be reunited with their fraulein sweethearts. They also intend to bring Kraehwinkel into the 20th century by "Americanizing" the place, despite fierce opposition from the tradition-bound locals. Their scheme works so well that one of the boys loses his girlfriend to the town's new pro-USA burgomeister. A film that has apparently long since disappeared, Columbus Entdeckt Kraehwinkel might prove an interesting rediscovery for Chaplin buffs. ~ Hal Erickson, Rovi

Appropriately, the title of this nostalgic Austrian musical translates to Vienna, As it Was. The story concerns a wealthy father who hopes to wean his spoiled son from his wastrel ways. To teach the boy a lesson, dad sells his business short, plunging his family into destitution. The boy straightens up and flies right in a hurry, allowing father to buy back his business at a tidy profit. Many of the nonmusical scenes in Verklungenes Wien play like something out of an old, musty operetta, and as such couldn't have meant much to American audiences in 1951. The music, however, is very pleasant and easy to take. ~ Hal Erickson, Rovi

Popular Austrian operetta star Marika Rockk does not disappoint her fans in Das Kind der Donau. Though a bit long in tooth for her role, Rockk is reasonably convincing as Marika, the daughter of Danube boatmaster Christof Josef Egger. While singing to herself one day, Marika is discovered by a journalist Karl Straup who is so entranced by her beauty and talent that he puts up his own money to build an opera company around her. A few minor complications later, Marika and the journalist head for the altar. It was still possible to pull off a hackneyed plot like this one in 1950, especially with the stunning Marika Rockk in the lead. ~ Hal Erickson, Rovi