Ernst Marischka Movies

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, All Movie Guide

Based on the popular Franz Werfel novel, Der Vernuntreute Himmel (The Embezzled Heaven) was deftly directed with both eyes on the box office by operetta specialist Ernst Marischka. Annie Rosar heads the cast as the naively pious Aunt Teta, who is certain that she will be assured a place in heaven by performing one good deed. That deed is to bestow her life savings upon her spoiled-rotten nephew Mojmir (Kurt Meisel) so that he may be able to afford to study for the priesthood. Of course, Mojmir has no such intentions, but he's certainly not above taking Aunt Teta's money. The melodramatic machinations of the storyline are largely forgotten during the film's spectacular climax, largely shot on location inside the Vatican. ~ Hal Erickson, All Movie Guide

Austrian audiences never seemed to tire of escapist operettas, and director Ernst Marischka never tired of grinding 'em out. Based on the popular stage attraction of the same name, Der Opernball (The Opera Ball) stars Johannes Heesters as faithful family man Georg Dannhauser. Georg's wife Elisabeth (Hertha Feller) trusts her husband implicity--but just to be on the safe side, she orchestrates an elaborate ruse to test his fidelity. To this end, Elisabeth enlists the aid of handsome Paul Hollinger (Josef Meinrad), who can best be described as a sexual adventurer. The outcome of the story is as predictable as the musical score is delightful. ~ Hal Erickson, All Movie Guide

This comical mix up features a baron who falls for a young woman on her way to visit her aunt in Vienna. When he call to ask for the girls hand in marriage, he calls the wrong aunt about the wrong niece. ~ All Movie Guide

Filmed in 1954 as Madchenjahre einer Konigin, The Story of Vickie stars 16-year-old Romy Schneider as England's soon-to-be Queen Victoria. Purportedly based on the Queen's diary and letters, the story concerns the early romance between "Vickie" and her beloved Prince Albert (Adrian Hoven). When first she meets Albert, Vickie has no idea that he is her betrothed, thus she delights in embarking upon a "forbidden" love affair. Enlivening the film is the young princess' frisky unwillingness to conform to Royal protocol--until it becomes utterly necessary for her to do so. Those who question the casting of an Austrian actress as Victoria should be reminded that the real Queen was also of Teutonic heritage. ~ Hal Erickson, All Movie Guide

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, All Movie Guide

Long before Amadeus, the life story of Wolfgang Amadeus Mozart was committed to celluloid in the Italian Eternal Melodies. Gino Cervi stars as Mozart, the former child prodigy who reaches the heights of operatic fame in the 18th century, only to be buried in a pauper's grave after his premature death at age 37. There's no "Salieri" to plague Mozart in this film: instead, the story concentrates on a romantic triangle involving the composer and the two lovely Weber sisters, Aloisia (Conchita Montenegro) and Costanza (Luisella Beghi). Betrayed by Aloisia, Mozart finds solace in the arms of Costanza. Though historical accuracy is hardly a consideration in Eternal Melodies, the film is redeemed by its all-Mozart musical score. The film was originally released in Italy in 1940 as Melodie Eterne. ~ Hal Erickson, All Movie Guide

One of the most successful filmed biographies of the 1940s, A Song to Remember alleges to be the true story of Polish composer Frederick Chopin. Actually, it has about as much relation to truth as a Heckle and Jeckle cartoon, but with such gorgeous creatures as Cornel Wilde and Merle Oberon in the leads, who cared? Though Wilde, as Chopin, is the nominal lead, top billing goes to Paul Muni, hamming his way through the role of Chopin's mentor Professor Joseph Elsner. Reportedly, Muni developed his characterization long before shooting started, refusing to allow the performances of the other actors to alter his interpretation in the slightest. This may explain why Muni seems to be acting in a vacuum, frequently completely out of rhythm with the film and its characters. Otherwise, Cornel Wilde does a nice job as the tempestuous Chopin, whose patriotic fervency frequently takes priority over his music. Merle Oberon plays novelist George Sand, who despite her preference for male clothing proves to be "all woman" during her torrid, decade-long affair with Chopin. The film's money scene--the one that everyone talked about, keeping the picture "alive" long after its original release--occurs towards the end, when the tubercular Chopin begins hemorrhaging as he performs his Polonaise for the first time (Jose Iturbi is heard on the soundtrack, "doubling" for Wilde's ivory-tickling). Sumptuously photographed in Technicolor by Tony Gaudio and Allen M. Davey, A Song to Remember was the usually penurious Columbia Pictures' top production of 1945. Fifteen years later, the studio hoped to make lightning strike twice with its Franz Liszt biopic Song Without End, but the magic just wasn't there. ~ Hal Erickson, All Movie Guide