Cinco Minutos de Amor

Yet another example of Marta Eggerth singing music her voice was perfect for and having a role that played to her strengths. Since seeing more of her, she has really grown on me and to me it is a shame that some of her films are not easy to find when they are much better show-cases of her than when she featured in support in 'For Me and Mu Gal' and 'Presenting Lily Mars'.

Eggerth is just delightful here. She has such a sprightly charm, fiery gusto and heartfelt nuance. While not everybody is going to like her voice, to me it has been very dependent on whether the music suits her or not. Eggerth not only has music that is perfect for her voice (which sounds incredible and remarkably mature for somebody so young) but she sings it beautifully.

She is well supported by the rest of the cast, that performed with charm, grace and like they were enjoying themselves. They all allow her to shine and never upstage her.

The music itself is infectious, full of energy and lovely to listen to. 'The Blue from the Sky' is a very nice-looking film, with some particularly splendid shots, while the direction is very competent and never lets the film lose pace and there are some very funny, bubbly and wistful Billy Wilder witticisms.

Despite having a lot of charm to it the story is very slight and fairly obvious at times, even for an Eggerth film. Of the script, the witticisms shine but the rest of it fails to properly distinguish itself.

In conclusion, charming film and Eggerth soars in it. 8/10 Bethany Cox

Saw a rare print of this German musical at MOMA yesterday, and darned if Marta Eggerth, its then-19-year-old star, wasn't there to enjoy it. She's a spry and vivacious 98, and informed us that 1) she'd never seen it (she was so busy back then) and 2) the kiss from her leading man was her first-ever. It's a slight and charming musical, with only two real songs, endlessly repeated, and a few distinct Billy Wilder witticisms in its unremarkable screenplay. Marta's the bright-eyed working girl, a subway ticket vendor, pursued by a pilot and a workmate, who in turn is loved by a cigarette girl who works above ground. They're all nice company, there are some splendid shots of Weimar Berlin -- the director and DP, not major talents, liked to wield a fluid camera -- and there's a bit of a Rene Clair feel to it, and not a hint of the disaster about to hit the Republic. Marta's soprano is absolutely lovely, as is her personality. I suppose most Americans who know her at all know her from her other-woman role in "For Me and My Gal." She's very different here, and altogether winning.