Le chant du Danube

In 1933 Hitchcock found himself without a picture to direct and signed on for this unlikely choice of a musical just so he could keep working. That being the case, it probably helps explain why it doesn't seem to have a Hitchcock feel to it or any of the elements you might otherwise expect from the master of suspense. I don't think his heart was really in it. The term musical is a little loosely used as really there are only the Strauss's waltzes for music as there was no money in the budget for any other music. So no one breaks out into song for no reason in this picture. Other than the fact it doesn't seem like a Hitchcock movie, it's a nice little story about the younger Strauss struggling for the respect of his father with a nice bit of romance and jealousy thrown in on the side. The most amusing scene for me was when the younger Strauss was coming up with the music for his waltz at the bakery. I also enjoyed the opening scene of the fire brigade racing to a fire and the "rescue" of the damsel. Apparently there wasn't much of a budget for special effects, because we never actually see the fire. A pleasant enough film, just not very Hitchcockian.

*** (Out of 4)

Jessie Matthews hated this film and if you're foolish enough to watch it, you can understand why. The story, the script and the characters are so utterly frivolous and light that they'd get blown away by your snoring.

It was the brainchild of a theatrical impresario called Tom Arnold who thought turning a popular musical into a film would be a good idea....it wasn't. By persuading Gaumont-British to back him, he secured the services of Jessie Matthews but the role she was given was woefully insubstantial. It didn't give her any opportunity to show her comedic skills let alone her singing or dancing - she did not enjoy this at all.

Not only was her role dreadful but her co-star had zero charisma and worst of all she didn't get on with the director. She was a huge star and knew it. Hitchcock with about 20 films under his belt believed that he was the best director in the country but having just been 'let go' from BIP, the industry in 1934 didn't particularly agree. There was therefore a huge ego battle going on here which didn't make for a happy set.

Although it's not good, it's not entirely awful. Despite the insane underutilisation of Miss Matthews, ('the dancing divinity' or 'the diva of debauchery' depending on your choice of 1930s newspaper), it is reasonably well made as of course you'd expect from Hitchcock but you can tell that nobody's heart is in this. She didn't want to make it, Hitchcock didn't want to make it and although Gaumont-British were a wealthier and classier studio than Hitchcock's former studio BIP, from the look of the cheap shabby sets, it looks like even G-B didn't want to make this either.

This is neither a Jessie Matthews film nor an Alfred Hitchcock film. Being the most beautiful girl in the world she still looks lovely but she's not really Jessie Matthews and because Hitchcock wasn't involved in the writing, there's none of his characteristic dark humour. When it tries to be funny it is just embarrassingly silly. Avoid this!

It is not his best, not even close, but his worst film is Juno and Paycock with Jamaica Inn and Champagne not far off. Number 17, Under Capricorn and Topaz are also towards the bottom. Waltzes from Vienna does look lovely, sumptuous sets and costumes, good photography and some nice visual flourishes. The music sparkles with beauty and energy throughout, while Edmund Gwenn gives a great performance, Jessie Matthews is charming enough and there's also the Blue Danube scene which is by far the highlight of the film. Esmond Knight does look uncomfortable and can have a tendency to over-act, while Fay Compton under-characterises. The direction has its moments but there is a sense that Hitchcock wasn't particularly interested in the project. The comedy scenes are rather forced and are played too broadly, while the story has a little charm but can be a little dull and silly, with some underdeveloped characters and relationships- that of Johann and Rasi is rather un-engaging- and sub-plots that serve little point and the script is on the talky side. Overall, one of Hitchcock's weakest but not his worst like he considered it to be, of the films of his personally seen there are at least 6 or 7 that are worse. 5/10 Bethany Cox

'Waltzes from Vienna' is Alfred Hitchcock's only musical and he directed this because he didn't have any other projects to choose from, and by that time he was still under the contract with British International Pictures. Although being peculiarity in Hitchcock's filmography 'Waltzes from Vienna' includes quite many Hitchcockian moments, including his usual trademark humor. The story itself is by the numbers affair coupled with few musical numbers, but it is masterfully orchestrated by genius conductor. The film is probably most notable of the use of combining the editing with the flow and rhythm of the music.

Sweet little movie which proves that masterful director can turn quite shallow script into somewhat enjoyable entertainment.

Not Hitchcock's best but very nice and good.

It is a fictionalised account of Johann Strauss Jr and his composition of the Danube: how the lyrics were (according to this film!) written by an upper-class countess, and how this collaboration made his girlfriend Resi jealous and how he very nearly gave it all up for her. (She wanted him to join her confectionery business because she felt left behind by his music fame.) There is also a subplot about his father - Johann Strauss Sr - refusing to countenance his work, but relenting at the end, realising that "youth marches forward".

A perfectly satisfying, nice, interesting slice of history. I wouldn't say it's a fantastic HITCHCOCK film, but it is a good film. There are some witty moments ("your mother didn't let me kiss her until six months after our wedding!", says Resi's father. "Now I know why you were 50 when you had me.")

And there's a lovely moment at the end when a young girl asks Strauss Sr for an autograph and he is genuinely humbled. He calls her back to sign "Senior", accepting that he is not the only Strauss but he does still have fans!