Leo Slezak Movies

This 1943 film, produced at the UFA studios in West Germany, was refurbished by Friedrich-Wilhelm-Murnau Foundation to mark the 50th anniversary of that studio. The Nazi director of propaganda, Joseph Goebbels, wanted a big internationally acceptable production to celebrate the studio's 25th anniversary, and the Münchausen story was chosen. It was thought suitable for Germans of the time, because of the ridiculous light in which it shows other nationalities. Baron von Münchausen (1720-97) was an eccentric figure in European history, whose tall tales about his adventures rival anything to be found in the legends of Paul Bunyan, or of the classical figure of Odysseus; they are similar in tone to the stories in Gulliver's Travels. The Baron's tales have been favored reading by the young-at-heart for centuries. This film recounts some of the episodes from the Baron's "autobiographical" stories, which are set in the world of the eighteenth century. In the story, the Baron's 1940s descendant narrates some of the Baron's famous tales; it gradually becomes clear that the original Baron attained immortality, and that his modern descendant is actually the original Baron. The American-born director Terry Gilliam made another film based on these tales in 1988, also titled The Adventures of Baron Münchausen. ~ Clarke Fountain, Rovi

Unsterbliche Melodien (Immortal Melodies) is one of a myriad of European films based on the life and career of composer Johann Strauss. When the audience is first introduced to Strauss (Alfred Jerger) in this version, he is a middle-aged widower on the verge of taking a second wife, an ambitious young ballerina named Lily Dietrich (Lilly Hozcruh). Soon afterward, Strauss realizes that the marriage was a mistake, while the woman he should have married, Maria Geistinger (Maria Paudler), disconsolately heads to a new life in America. Fortunately, Strauss and Maria are able to find lasting happiness at film's end, while the composer's "immortal melodies" are heard on the soundtrack. Opera star Leo Slezak (Walter's father) is third-billed as Haslinger, while the orchestrations are provided by the Philharmonic Society of Vienna. ~ Hal Erickson, Rovi

The merry monarch of the title is King Louis XV of France, here rechristened "Ludwig" and played by Alfred Neugebaur. For most of the film however, the king is shunted off to the background, while the spotlight is shifted to provincial coachman Chapelou (Willy Eichberger). Gaining fame as a singer, Chapelou is whisked off to Versailles, where he catches the eye of royal mistress Madame Pompadour (Thekla Ahrens), who tries to dispose of Chapelou's wife Madelaine (Rose Stradner) by confining her to her home. But Madelaine has her revenge when she shows up at the King's palace, posing as the Countess Latour. Yes, the King smiles, but not before La Pompadour is given plenty of reason to frown. This frothy costume escapade was originally released as Der Postillon von Lonjumeau. ~ Hal Erickson, Rovi

Gasparone was one of several George Jacoby-directed movies designed to promote the film career of musical-comedy star Maria Rokk. Although the casting of Fraulein Rokk was at first opposed by German propaganda minister Joseph Goebbels, he eventually and mysteriously relented, though it certainly wouldn't be the last time that movie casting decisions would be made by the mercurial Goebbels. The story concerns a nationwide manhunt for a robber and woman-abductor called "Gasparone". In fact, there is no such person: Gasparone has been invented to keep the cops busy whenever restauranteur Massacio (Oskar Sima) is receiving his latest shipment of contraband coffee. Helping Massacio pull off this subterfuge is his pretty niece Ita (Rokk). The plot thickens when a handsome stranger (Johanne Heesters) is accused of being the elusive Gasparone. Appearing as Maria Rokk's screen partner is Leo Slezak, the opera-star father of Walter Slezak. Gasparone proved to be yet another hit for Rokk and Jacoby, who would later solidify their collaboration via marriage. ~ Hal Erickson, Rovi

In keeping with its title, which translates as Tales from the Vienna Woods, this German operetta spotlights the lilting three-quarter-time tunes of Johann Strauss. It all begins when humble mechanic Rudi Walheim (Wolf Albach-Retty) inherits a title and a castle. Unfortunately, his new domicile is mortgaged to the hilt, forcing Rudi to cook up a few get-rich-quick schemes. He is helped along by Millie (Magda Schneider), a poor girl pretending to be rich, and Mary (Truus von Aalten), a rich girl pretending to be poor. It's anybody's guess as to which girl our hero will marry at film's end. ~ Hal Erickson, Rovi

Though the title translates literally as My Sweetheart is a Hunter, this German musical comedy was released in the U.S. as Love at Court. The story takes place during the reign of Austrian emperor Franz Josef I, here played by Earl Ehmann. The emperor embarks on a hunting expedition, with three young romantic couples in tow. Not much "big game" is bagged, but at least Franz Josef can take comfort in the fact that all three pairs of lovers are happily married by film's end. Billed at the bottom of the cast list is "guest star" Leo Slezak, the opera-star father of character actor Walter Slezak. ~ Hal Erickson, Rovi

Also known as Song of Friendship, this German operetta serves as a showcase for such splendid singing talents as Charles Kullman and Leo Slezak. The story concentrates on two stonemasons (Kullman and Fritz Kampers), longtime friends who engage in a friendly rivalry over the heroine (Jessie Vihrog). Despite all manner of provocations, the friendship remains durable throughout the film. Finally, one of the two masons does the "nobility" bit by heading off to sea so that his buddy can marry the girl. La Paloma allegedly takes place in Spain, but there's more strudel and schnaps than fiestas or flamencos in this production. ~ Hal Erickson, Rovi

Ein Toller Einfall (A 'Phantastic' Idea) features comic actor Max Adelbert as a "poor rich man," who in spite of his magnificent mansion and priceless possessions hasn't a penny in the bank. Heading to England to negotiate the sale of his mansion, he leaves the place in the care of his nephew Willy Fritsch. In Adelbert's absence, Fritsh transforms the mansion into a hotel, packing in the customers with an elaborate floor show. Naturally, this helps to put Adelbert back on his feet, leading inexorably to a happy ending. Dorothea Wieck and Ellen Schwanecke, previously teamed in the controversial Maedchen in Uniform, portray entirely different characters in Ein Toller Einfall. ~ Hal Erickson, Rovi