The Dancing Years

Despite all the nitpicking by critics this film is a lovely thing to watch. The negative seems to have faded and could do with refreshing but the lovely dresses and decor of this story is fine as is the singing. Given the choice of this film or one of the interminable 007 efforts this wins hands down.

Both my mother and grandmother were avid Novello fans - a great-aunt even made soft furnishings for his London flat above The Strand Theatre. Therefore all my life I have been totally prejudiced against his sickly-sweet tunes and dated 'Ruritanian' fantasies. However recently I was asked to lecture on Novello as part of a course for a charity and so came about my damascene moment. To get the same effect you have to imagine yourself in a Europe on the brink of war a mere twenty years after a previous conflict had decimated the youth of your country. Amidst all the dark swirling storm clouds you yearn for some relief and decide to escape for a couple of hours to a West End theatre. There you enter into an enchanted parallel world where romance, love, trust, honour and beauty are the norm. Yet this wouldn't matter if the work you were watching was of a poor or insincere quality. Novello provides the dream-scape and for a short while you become enchanted. This 1976 version is 'big' for a TV production but cannot compare with a full-fledged Broadway or Hollywood spectacular yet it has the ring of truth. The book is so well written and the music so adeptly suited to the mood of the moment that all seems artless and sincere. You start to care for the fate of Rudi,Grete and Maria and become fretful as the final scene plays out to its inevitable conclusion. Okay, I've wandered into a dreamy state with this review but so might you. Please grab any chance to see it, watch with cynicism excised and perhaps you too will fall under the Novello spell.

As the above poster said, it's pleasant, and as these misbegotten adaptations go, faithful to its origins. The 1939 operetta was a megahit in the West End, thanks to a lavish production, Novello's lovely melodies, and characters rather more three-dimensional than the genre generally invited. Rudi and Maria are flawed, interesting people, self-absorbed but kind, loving but suspicious, and a reasonable amount of their adult qualities make the transition from stage to screen. (There's even a love child involved, and the movie doesn't judge its parents for that.) Some pretty songs are missing, as is all of Act Three, in which Rudi -- an Austrian Jew, in the stage version -- runs afoul of some nasty Nazis and is rescued through the last-minute intervention of Maria. (What with a Salzburg music festival, a heroine named Maria, and snarling Nazis, the work actually shares quite a lot with "The Sound of Music.") What remains tends toward soap opera, and Price isn't a truly charismatic leading man. But it's a nice surprise to encounter so much intact stage dialog and music, performed by a generally capable cast (and Patricia Dainton is delightful). Pretty Technicolor, too.

Dennis Price didn't do anything likes this again.It is positively antediluvan.The sort of stuff they did in Hollywood twenty years earlier. It is truly excrutiating to watch.

With Stafford Cripps currently Chancellor of the Exchequor audiences needed a break from rationing and austerity and lapped this nonsense up in 1950. But despite the trappings of Technicolor and occasional sunlit Austrian locations this tinny big screen version of Ivor Novello's long-running West End hit of 1939 (originally directed on stage by Leontine Sagan) feels drab and cheap, with many of the exteriors obviously shot in the studio.

Dennis Price is stiff and charmless in lederhosen in the romantic lead as (in Bosley Crowther's words) a "minor-league Johann Strauss", played originally by Novello himself. (In the original he was also Jewish and the action reached the Anschluss, whereas this version ends rather abruptly in 1926.)

(His starchy romantic rival for the hand of prima donna Maria Zeitler is ironically played by Anthony Nicholls, who with Price ten years later found himself reluctantly on Derren Nesbitt's mailing list in 'Victim'.)

Remarkably, the hero is permitted to father a child while remaining unmarried; though not, sadly, by Patricia Dainton, who, despite being delightfully bright-eyed and bushy-tailed as juvenile second female lead Grete, is given dismayingly short shrift throughout.