Vittorio e Vittoria

What surprised me most about this film, since it's famously the inspiration for the 1982 Blake Edwards/Julie Andrews musical "Victor/Victoria," is that it's so CLEAN. The fact that its release date is 1933 may mean it was produced under Nazi censorship, or on the other hand it might be an example of how innocent and yet sophisticated filmmaking could be in Weimar Berlin. Notably, there's absolutely no homosexuality in it; the Robert Preston character (a wonderful piece of clowning by Hermann Thimig) is straight, and the James Garner guy (the incredibly sexy Anton Walbrook) suspects all along that Viktoria is really female, and his courtship of her consists of teasingly playing up to her pretensions of maleness while tweaking her feminine tendencies. The through-line of this version is the charming reactions of the skittish young Susanna-Viktoria (an endearing performance by Renate Mueller that's a poignant reminder that it's possible for actresses to be both beautiful AND skilled performers--a point usually lost on Hollywood) to the strange and excellent adventures of passing as a man, and then falling in love while trying to pass as a man with the man she loves.

Many are aware that Viktor and Viktoria was remade in the U.S. as Victor/Victoria, but an English-language remake was made the following year in the U.S. starring Jessie Matthews and Barry McKay. The film follows the German script closely including the scene with the geese, but allows McKay to be in on the impersonation much earlier. Intriguingly, neither the German nor UK version contain a single hint of homosexuality -- female and male impersonation were simply accepted theatrical forms. No nudge-nudge wink-wink. One of the more poignant and droll scenes in the German film is when the ambitious thespians descend several flights of stairs in a seedy theatrical booking building, singing to a joyous martial melody that they will climb ever higher and higher-- as they descend and descend.

Viktor Hempel (Hermann Thimig) has played many parts; one of which is of a woman. He crosses paths with Susanne Lohr (Renate Müller) at an opportune time when he has a cold and cannot go on. She goes on in his place and when she reveals herself to be a man by taking a wig off, is an instant success. The story gets complex when she falls for a man and cannot tell him that she is a woman. Little does she know he found out. So, he has fun leading her on. Will she ever find out that he knows?

The movie shows many interesting things about the Weimar era such as an automat. The singing is from the 30's so they have that warble that you heard in Disney's Snow White. And the movie has a lot of slapstick filler. Many times, Viktor is unnecessarily a dufus. I have a sparse German vocabulary and am lucky most of the characters spoke slowly or at least used basic statements. There is also a smidgen of English including a song about Spain. The film would have been easier to follow if Deutsch sub-titles were available.

The DVD I Watched is region 2 from Black Hill Pictures GmbH. You may need a multiregional player or do a little ripping and converting to play. I believe there is a region one available now.

The startling thing about the original "Victor and Victoria" is its operetta-like form with significant dramatic interactions presented in rhyme, either sung or in recitative. Reinhold Schunzel (who later appeared to outstanding effect in such American films as "Hangmen Also Die" and "Notorious") directs stylishly with sometimes over-obvious flair, milking laughs from the physical comedy of the leads—namely, the energetic Hermann Thimig as the female impersonator who catches cold and persuades an ambitious young performer (Renate Muller) to sub for him. She becomes a huge hit overnight. The dashing Adolf Wohlbruck (later Anton Walbrook of "Red Shoes" fame) is the gentleman who falls in love with her after discovering "he" is a "she."

One odd bit: when Wohlbruck takes Muller to a barbershop for a shave and she removes her jacket it is very clear from her anatomy that she is a female, but no one notices. Why then did the filmmakers do nothing to flatten her chest?

An operetta of dramatic interactions in rhymes, sometimes sung, sometimes in recitative form. In short, fantastic fun. If the critic Moniz Vianna's favorite musical was "Love Me Tonight", (1932), and the critic J. L. Grunewald's favorite musical was "Maytime", (1937), I'm led to believe that neither of them got to watch "Viktor und Viktoria", whose premise is complex and certainly funny: a real woman falls into Skittish Susanne Lohr (Renate Mueller, adorable ) falls in love with one of the men she tries to pose as a man in front of vaudeville. ... him!

A sweeping musical - full of melodies sung in rhyming couplets. A reminder of the spirit of freedom and joy enjoyed in pre-III Reich Germany. The date of production, 1933, means that it passed through Nazi censorship, and yet it is still an example of innocence, mischievousness and high cinematic sophistication. There is absolutely no homosexuality there. Hermann Thimig's character, with all the quirks and for all intents and purposes, is straight. The gallant Adolf Walbrook (who would soon change his name to Anton to stop being the namesake of the Nazi dictator) has suspected all along that Viktor is really Viktoria. The film is seen as a time machine trip to the era of the Weimar Republic. Like contemporary René Clair's comedies, it's full of slapstick scenes. And specialists who appreciate cinematographic language will be especially delighted with the montage based on (technically so called) curtains (instead of cuts, fades or lightening, just like as in, for example, Kurosawa's 7 Samurai)