Füge eine Handlung in deiner Sprache hinzuPseudonym Dr. Falke pursues his wife through disguises and deceptions in postwar Vienna, an operetta adaptation involving occupying powers' protagonists, not a staged production but a cinema... Alles lesenPseudonym Dr. Falke pursues his wife through disguises and deceptions in postwar Vienna, an operetta adaptation involving occupying powers' protagonists, not a staged production but a cinematic reimagining.Pseudonym Dr. Falke pursues his wife through disguises and deceptions in postwar Vienna, an operetta adaptation involving occupying powers' protagonists, not a staged production but a cinematic reimagining.
- Regie
- Drehbuch
- Hauptbesetzung
- Lady
- (as Barbara Ash)
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With the recent US occupation of Iraq, this film may be newly relevant. After all,Oh ... Rosalinda! was a plea for an end to the occupation of Austria. The party was over in the mid50s. In another ten years, perhaps, there might be a wonderful remake set in Bagdad.
the film is totally uninspired by the miscasting and the actors inability to lip sync to the songs!
If only they had achieved something amazing - by getting Orson Welles and Bing to sing! But they didn't and that's the rub.
The colour is a delight and the music a delight but it can't work until someone spends a fortune re-editing this and applying CGI to the lips syncs? Some awful acting doesn't help. What is Quayle like? Awful.
As in Hoffmann, the film is full of dancing--but much of it has an improvised flavor, a polka down the hall, a can-can by Michael Redgrave in full military evening dress and kepi, as well as lots of waltzing-- and some of the actors are lip-synching the arias as sung by folks with bigger voices. But there is also a lot of spoken dialogue, so the actors get to establish their characters in their own voices. The trouble is that the characters are still the silly, exaggerated characters of an operetta, with chiming watches, comic hangovers, and huge plot-enhancing blind spots.
The most interesting character is of course Anton Walbrook's Dr. Falke, the Bat. As in The Red Shoes and La Ronde, Walbrook plays the man who keeps the whole thing going, the leader of the dance, but here he is euphoric, almost ecstatic. Falke is presented as a black-marketer who arranges parties for the higher-ups of the Four Powers occupying Vienna, and keeps them on good terms with each other; he exploits them, lives off them--and he would like to see them all go home. He is witty and views everything with cheerful irony, but he never stops enjoying himself for a moment, never goes down, only up, up, up.
Ludmilla Tcherina is a delightful French farce heroine, flirting only when absolutely necessary. Michael Redgrave gets to do some great swooping physical comedy (apparently he also did his own singing, but who can tell?). Mel Ferrer comes off well in his light role as the old boyfriend, as does Dennis Price in a smaller role whose main duty is to be recognizable for plot purposes. Anneliese Rothenberger is a reminder of more conventional stagings, where the singers act instead of having actors "sing."
I felt that the 1955 setting was a bit thin--were the 50's really THAT much about denying what had happened and "moving on"? Maybe they were--Pressburger and Powell were good at telling where the wind was blowing.
Oh... Rosalinda!! may be a bit of an acquired taste for some people. The aesthetic is very flat and artificial, stagey even, much like the more elaborate Tales of Hoffman but with apparently less of a budget. It's also a bedroom farce, so if you're not much for that kind of comedy, you may find it hard to get into the swing of things. I myself care little for such comedies, but I rather enjoyed this one, mainly due to the strength of the performers. Anton Walbrook is great as the black market dealer who manipulates everyone, showing a great penchant for comedy he rarely got to express in his English language projects. Ludmilla Tcherina is playful and sexy as the woman everyone wants. Mel Ferrer is a bit overdone, but he's not bad at all.
No great classic, but Oh... Rosalinda!! is worth at least one glance from Powell-Pressburger devotees.
Wusstest du schon
- WissenswertesOne critic dourly noted that the ballerina Ludmilla Tcherina did rather less dancing in this movie than Sir Michael Redgrave did.
- Zitate
Dr. Falke: Ladies and Gentlemen, it's four o'clock in the morning and the air of Vienna is like champagne. And when I'm soaked in champagne I love it. I love the whole world. In particular, of course, our dear friends the British, and the French, the Russians, and the Americans who have been spoiling us Viennese for so many years now. And when I say "spoiling" I'm not thinking only of your champagne
[points to the French]
Dr. Falke: , and whiskey
[points to the British]
Dr. Falke: , vodka
[points to the Russians]
Dr. Falke: , and Coca-Cola
[points to the Americans]
Dr. Falke: . We're very proud that you love us so much and I can assure you that we love you, too. But even the dearest friend loses a bit of his attraction if he overstays his time. Don't you agree? So if you don't mind: go home. Come back as our guests. But please... go home.
- SoundtracksOh...Rosalinda!!
from "Die Fledermaus"
Music by Johann Strauss (as Johann Strauss)
English Lyrics by Dennis Arundell
Arranged by Frederic Lewis (uncredited)
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Details
- Erscheinungsdatum
- Herkunftsland
- Sprache
- Auch bekannt als
- Oh... Rosalinda!!
- Drehorte
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Box Office
- Budget
- 212.000 £ (geschätzt)
- Laufzeit1 Stunde 41 Minuten
- Farbe
- Seitenverhältnis
- 2.55 : 1