Johanna Matz Movies

An unexceptional drama of the exceptional George Bernard Shaw's story of a conflict of morals, Frau Warren's Gewerbe stars Lilli Palmer in the role of Mrs. Kitty Warren and Johanna Matz as her daughter Vivie. The mathematically talented and well-educated Vivie owes her accomplishments to her absentee mother who has paid all the bills in her upbringing. When they meet at last in a country home, Vivie is shocked to discover that her mother not only gained her lucre through prostitution but is still a partner with Sir George Crofts (O.E. Hasse) in the management of several brothels around Europe. That shock is soon followed by another when Vivie finds out the truth about the parentage of her boyfriend Frank. This is all heavy going for the turn of the 20th century when certain topics were still taboo. ~ Eleanor Mannikka, All Movie Guide

Based on an operetta by Franz Schubert, the film is partially biographical. Franz (Karlheinz Boehm) is in love with Hannerl (Johanna Matz) but is too shy to reveal his feelings. After composing a love song, he engages a young baron to sing to her. Hannerl instead falls in love with the baron. The girl's parents lament over the problems of Hannerl and her two sisters, who are all young women living at home and eligible for marriage. Beethoven (Ewald Balser) and legendary music publisher Diabelli (Richard Romanowsky) are Schubert's famous contemporaries, giving historical perspective to the three music legends. ~ Dan Pavlides, All Movie Guide

This movie takes place during the premiere of Mozart's Die Zauberfloete (The Magic Flute). Not really depicting his entire life and loves, much of this is fictionalized scatology. Although not without basis in fact, Mozart has attained a somewhat colorful reputation and this is really just more of the same. The music is a joy, but the movie bogs down in titillation. Mozart's last days were lived in poverty and disgrace--stemming chiefly from his embracing of the Freemason stance, which was essentially a heresy in Austria and the rest of Europe at that time. None of this is depicted and even a satyr could not sustain the lifestyle Mozart has been portrayed as having here. Still, this is an interesting movie and worth a listen to. ~ Tana Hobart, All Movie Guide

Filmed on location in Rio De Janeiro, They Were So Young is a tawdry "white slavery" melodrama, elevated by a first-rate cast and excellent production values. Innocent young Johanna Metz is hired for a modelling job in South America. Upon her arrival, she finds herself broke, stranded and at the beck and call of a criminal gang. Escaping from the crooks, Johanna is rescued by Scott Brady, an engineer in the employ of tycoon Raymond Burr. Unfortunately, Burr turns out to be the leader of the gang from whom Johanna has escaped. Financed in Germany and released in the US by Lippert Productions, They Were So Young (aka Violated and Party Girls For Sale) was released in English- and German-language versions. ~ Hal Erickson, All Movie Guide

Having escaped the clutches of a white-slavery ring in They Were So Young, Johanna Matz is back in the "mannequin" business in Ingrid--Die Geshchichte Eines Fotomodel (Ingrid--Story of a Model). A wartime refugee, Ingrid (Ms. Matz) secures a job as a seamstress, working her way up to fashion model. Soon success becomes more important than anything else, nearly costing Ingrid the love of her sweetheart Robert (Paul Humschmid, who acted in the US as Paul Christian). Though the "reunion" finale is conventional, the lovers' method of perpetuating their romance is most daring for a mid-1950s film. Ingrid was directed by Geza Radvanyi, who'd previously helmed the well-received "displaced person" drama It Happened in Europe (1947). ~ Hal Erickson, All Movie Guide

This is the story of a chaste young TV-commercial actress (Maggie McNamara) who is romanced by a playboy architect (William Holden). Despite all sorts of temptations, the girl refuses the architect's invitation to become his mistress, holding out for marriage or nothing. Meanwhile, middle-aged rake David Niven tries to move in on the girl himself, with an equal lack of success. So why was this harmless little comedy so controversial? It seems that director Otto Preminger decided to film the play as written, retaining such words as "virgin," "seduce," and "mistress" in the script. The antediluvian Motion Picture Production Code refused to approve the film so long as those naughty words remained in the dialogue; thus, Preminger released the picture minus the Code's seal of approval. Rather than hurt the film's chances at the box office, Preminger's bold move resulted in a major financial success -- not to mention the beginning of the end for the ancient, wheezy Production Code. However, in the meantime, troubles piled up; the Jersey City Municipal Court -- at the hands of Secaucus' Justice George King -- fined Alfred Manfredonia, manager of the Stanley Theatre, 100 dollars for screening the film (declaring him guilty of violating a city ordinance), and a ban was imposed on the picture by the Maryland State Board of Motion Picture Censors. While The New York Times' Bosley Crowther dismissed the accusations of prurience, he blithely observed, "The Moon Is Blue is not outstanding, either as a romance or as a film...at times, it gets awfully tedious...Its charm...will depend on how much one delights in its choice of words." ~ Hal Erickson, All Movie Guide