Mascarada

Not quite what the legend surrounding it would lead you to believe, "Maskerade" is a quite predictable movie in a Schnitzlerian mode, stylistically akin to any of a number of better Max Ophuls movies of its time (e.g. "Liebelei", "La Signora di Tutti"), not to speak of such later Ophuls masterpieces as "La Ronde" or "Madame de". Willi Forst quite engagingly presents the social life of turn-of-the-century Viennese high society, much as quite a number of the characters he brings into play are stereotypes and character development seems to be outside his range.

The great Paula Wessely, an actress with few peers on the stage --- Edwige Feuillère and Laurette Taylor come to mind --- does what is a routine job as a predictable goodie-two-shoes character. On stage her voice was unforgettable (I saw her live once at the Burgtheater and once at the Akademietheater), the kind of voice you would love to listen to even in a reading of the Vienna phonebook. In this movie her splendid voice is not yet fully developed, but admittedly "Maskerade" was made when Wessely was still in her twenties. Moreover, though touched with a considerable amount of Viennese charm, Wessely was never quite a classic beauty like Isa Miranda, Ophuls' Signora, or Audrey Hepburn who would have made an excellent Leopoldine Dur.

Hans Moser does his shtick here like in any other Hans Moser movie, but without anything specific to set this supposed masterpiece above routine.

In retrospect, the funniest thing maybe is, that Olga Tschechowa, an undistinguished actress with good, though hardly very good, looks, afflicted by an unmistakable frigidity, was revered in the German-speaking world of her time (the Thirties) as some exotic femme fatale.

In the role of the dowager, the respectable Julia Serda pales in comparison with say Dame Edith Evans, the doyenne of moviedom dowagers. The Serda character's "In my days things were more exciting" gimmick goes well once, or even twice, but by the time it is getting to be repeated over and over, one feels that Forst is catering to the taste of some Viennese grannies and not to the needs of a movie of genuine integrity.

On the whole, the rather far-fetched story still manages to flow quite well. "Maskerade" entertains, but it also disappoints.

This is a real find, that I'd never heard of till today, and which feels very much like a lost Max Ophuls confection, with the viennese setting and the dashing Anton Walbrook (the narrator of Ophuls' masterpiece La Ronde) in the lead as "Vienna's most elegant man". The photography is distinctive and insightful - the camera seems to see more than it should - and many moving images stay emblazoned on the mind much more like still photographs.

The story, of the scandal and misunderstandings surrounding a masked nude portrait of a prominent society lady, would in Hollywood have been little more than a run-of-the-mill farce, but here is filled with delicate emotional touches, insight and romance, and I can't help but think it would be far better known today if it hadn't been filmed in the German language in the lead up to the second world war.

Most reviews by IMDB members of this film are ecstatic and with very good reason. This must surely be director Willy Forst's greatest achievement. There is a magic alchemy at work here by which everthing gels. Cinematography by Franz Planer and music by Willy Schmidt-Gentner,played by the Vienna Philharmonic, only add to the films irresistible appeal.What can one say about the cast?! Olga Tschekowa is the woman scorned; Peter Peterson is the doctor who has to make a choice between personal feelings and professional ethics and Hilde von Stolz is his deliciously flirtatious wife whose reading of the line' I am not interested in art, only artists' is unforgettable. Anton Walbrook as the painter brings as always his particular air of mystery. What woman could resist his magnificent chat up line 'You are too beautiful not to be painted'! This film however really belongs to Paula Wessely. It took me a while to forgive her for appearing in the egregious 'Heimkehr' but artistes in those extraordinary times very often made decisions which they had cause to regret and which came back to haunt them. A talent such as hers comes very seldom however and in this she is simply magnificent. As a post-script there is an uncredited appearance by Lisl Handl who was married to the co-writer Walther Reisch. He was a fine director in his own right for whom Lisl starred in 'Silhouetten' in 1936. They went together to Hollywood where she was condemned to appearing in anti-Nazi propoganda films in which she acted under the professional name of Poldi Dur which just happened to be the name of Paula Wessely's character in 'Masquerade'! Willy Forst's masterpiece is also sub-titled, so how could one possibly not see it?! Full marks all round.

What a timeless confection of romance and scandal. It's as if I can smell the perfume clinging to the gowns as they fall to the art studio floor, feel the nap of the chinchilla muff, daub the flushed skin of a bourgeois wife's figure just released from the bones on a tight corset, thrill to her gay call for more champagne--all immersed in pale 'fin de siecle' lamp light. What an effervescent touch. Oh Willi, you rake

"Proud of my achievements? Being humble is all that is left to me in this." (Paula Wessely)

MASQUERADE IN VIENNA from the screen play by Walter Reisch is, undeniably, the most famous film that stars Paula Wessely, the actress whom Sir Laurence Olivier appreciated as a film actress among the greatest ones of the twentieth century, whose performances were studied by Bette Davis. And indeed, her captivating performance in MASQUERADE constitutes a significant factor why the film is so much worth viewing and recently released on DVD. Yet, before some deeper consideration of her charming portrayal, let me address some other aspects that make this movie a pinnacle of both Austrian and European filmmaking.

Willi Forst's movie is one of these cinematic treasures that appears to be clear, entertaining, artistic and respectful towards viewers. Actually, much of its charm we owe to Willi Forst and Walter Reisch, two people who had a decisive presence in the Austrian cinema of that time. After Forst's debut LEISE FLEHEN MEINE LIEDER about the composer Franz Schubert, MASQUERADE brilliantly combines the lovable comedy with some dramatic tensions, presents to us the atmosphere of Viennese society and within... a story of an unexpected feeling between two people who met in the most unpredictable circumstances and who overcome all and breathe life into everything, including the coldest conventions. The movie clearly manifests a unique genre that is to be called a Wiener Film and explores the undeniable talent of Mr Forst, one of the greatest directors who came from Austria except for Billy Wilder. Robert Von Dassanowsky nicely refers to this director in his book AUSTRIAN CINEMA seeing him (Forst) as "one of its greatest filmmakers...and one more casualty from the negligence that has greeted Austrian cinema since the 1950s" (p.49).

The whole atmosphere of the film can boast of truly innovative camera-work that appears remarkable in many memorable moments and Franz Planer's cinematography. It stirs and teases viewers' attention in a captivating manner. There is wit and symbolism. Consider the hilarious moment of how people read and spread a gossip...with animal sounds. Moreover, the number of juxtaposing images together with certain close-ups (including feet and steps), the static camera at ball scenes, the lighting on Paula Wessely's face as well as some highlighted pieces of wardrobe (a chinchilla muff that plays a decisive role in the storyline) are only some of the significant visual merits. Some moments are so beautifully photographed that you can hardly find something equal elsewhere. What I mean here are three scenes: the mask ball, the tea party at Fuerstin and the blissful finale (not to spoil much... just consider the use of snow). A bonus for curiosity and entertainment is added by Enrico Caruso's voice recorded on soundtrack. However, let me now refer to, perhaps, the crucial virtue of MASQUERADE - performances or rather the Performance of PAULA WESSELY.

I have discovered Ms Wessely thanks to my friend and MASQUERADE was my first encounter with this wonderful Viennese actress. I was overwhelmed by her performance. Yes, after all these years, she still enchants us and still touches us. Why? Because her role of one Miss Leopoldine Dur (a name picked randomly and hilariously) is so genuine and her performance so heartfelt. She convincingly portrays 'Die Kleine Person' (a little person) who barely represents the glamor of the high society; yet, a young person who once starts to believe in herself and pushes through to meet her destiny. 'Can an artist find any inspiration in a kind of person I am? A shy little innocent person while there are so many prettier ones? Why me? Actually, WHY NOT...ME? The character partly resembles Ms Wessely herself who wins our hearts not by the distance and self-respect but openness and respect towards others, towards people, her viewers she has always searched...and found. Besides her scene at the mirror that appears to be a sort of turning point for the entire story and, particularly, for her character, her best scene includes the innocent entrance into the artist's studio with quite different expectations than what she found out, actually and scenes she plays opposite Olga Tschechowa near the final moment.

Other cast constitute no lesser effect. While Wessely's leading man Anton Walbrook as Heideneck does not captivate us to the extent we would, perhaps, wish...their scenes are worth consideration. Among many, it is foremost the lovely waltz scene that has become, in a way, a landmark of the film, much due to the aforementioned excellent camera-work. Mr Walbrook, if not a captivating leading man for Wessely, occurs to be acceptable at least. From the supporting cast, the performances that deserve highest attention are: Peter Petersen's Professor Carl Harrandt whose pride has to face doubts, anger and compassion; Walter Janssen's court opera director whose wit makes for the crucial humor of the script; Hilde Von Stolz's sweet blonde Gerda whose interest is directed solely onto the artist rather than art; Julie Serda Junkermann's Fuerstin M. who is only capable of looking at 'good old times' not seeing the positive events that may happen in the times of her elderly life; Hans Moser as Herr Zacharias with his Viennese accent and some typical wit that appears to be a sort of irreplaceable entertainment. Finally, it is Olga Tschechowa whose villainous intrigues make for an unexpected climax of events. Indeed, the muff was there for...something...

MASQUERADE is a highly recommended film, a milestone among Austrian cinematic achievements, a beautiful story of love where the mask of all social jealousy, strict conventions and anger give in before the genuine feeling which makes all things as pure as snow. But MASQUERADE, for me, constitutes yet another pearl, something more than just a great film...a loving memory of Paula Wessely whom people still discover though she is with us in a different way.