Fledermaus 1955

Powell & Pressburger take Strauss' "Die Fledermaus" and update it. I'm not familiar with the original work, but from what I can tell most of the plot points remain intact. The updating comes in the form of bringing it to postwar "Four Power" Vienna (like THE THIRD MAN) with some light commentary on the occupation. My problem with opera is quite similar to my problem with Shakespeare. The story is being advanced in a manner I find difficult to comprehend. Sometimes it's alright, but whenever there's a large chorus singing, it all sounds like mush to me. And some of the ladies go into that ridiculously high register where all words turn into "aaaaaaEEEEEEeEeEeEeee!!!" Still, when I couldn't make out the words I managed to get most of it from context, and the movie is fun musical comedy. The farce is well-constructed and the performances are very enjoyable (including Michael Redgrave being far more flamboyant than I would have ever imagined him). It's not brilliant, it's not stunning, it doesn't stick with you, but it's a good little romp with some nice tunes.

Michael Powell and Emeric Pressburger have shifted this lively and engaging Strauss operetta to the scenario of post WWII Vienna and that allows for some pretty potent language from the top of his game Anton Walbrook's "Dr. Falke" delivering us a slightly more relevant critique of politics, hope, friendship and honour than might have emanated from the original timeframe. The thought of such monologues might be a little off-putting at first, but they are littered with powerful and emotionally charged messages that compliment really well the musical powerhouse that is "Die Fledermaus". On that latter front, Michael Redgrave ("Col. Eisenstein") impresses with his singing and his dancing; Dennis Price features sparingly but effectively as "Maj. Frank" and P&P regular Ludmilla Tcherina actually glows as she takes on the title role with a subtly alluring and charming style. It's colourful, always busy but never rushed and the characterisations evoke a smile and a grimace every now and again as we try to discover just whom is cheating - or wants to cheat - on whom! If you've seen it on stage then it may not compare so well - it does lose some of the intensity of the live performance and Anthony Quayle ("Orlovsky") just never quite did it for me when charisma was required. The remainder of the assembled cast work well with the memorable score and the pristine imagery ensuring this is a challenging but rewarding film to enjoy.

This 'lost' Michael Powell and Emeric Pressburger movie updates Strauss' operetta Die Fledermaus to post-war Vienna, with the city under occupation by the four Allied powers. A romantic romp starring Anton Walbrook, Michael Redgrave and Ludmilla Tchérina as the titular object of desire, its primary pleasure is Hein Heckroth's gaudy décor, and it's not hard to see why it was a critical and commercial flop. If you want to see P&P meld opera and cinema to dazzling effect, try their previous film The Tales Of Hoffmann.

We are big champagne fans and this movie was sponsored by a big French champagne outfit and it couldn't have been more appropriate. The post WWII Vienna setting was marvelously bubbly and clever. Where better to set such an international tale of deception and decadence.

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.

Surreal, not even taking into account the operetta part. Slightly subversive, too. Normally, surreal and subversive are a great mix, but this one just keeps tripping over itself. I kept waiting for it to get off the ground, and in the process sort of enjoyed the weirdness. But it's not a good movie by any measure.

Think Dr. Caligari crossed with the worst Mickey Rooney/Judy Garland musical you've seen (ok, with better music, but is anyone really _that_ into Strauss?). Or maybe The Third Man on a tremendous amount of ecstasy, except that's way too kind.

My wife thinks Mel Ferrer's performance might have been an inspiration for Jim Carrey's acting style. That's the kind of quality to expect.

Have fun!