THE GREAT WALTZ
US, 1938, 103 minutes, Black and white.
Fernand Gravet, Luise Rainer, Miliza Korjus, Lionel Atwill, Hugh Herbert, Herman Bing, Curt Bois.
Directed by Julien Duvivier.
The Great Waltz is a lavish MGM musical of the late 1930s. Filmed in black and white, it stars Luise Rayner (an Austrian herself). She had won two successive Oscars for The Great Waltz and The Good Earth.
The film stars French actor Fernand Gravet as Strauss the Younger and Miliza Korjus (nominated for an Oscar for best supporting actress) as the opera star Carla Donner. A number of regular MGM supporting actors fill out the rest of the cast.
The film was directed by Frenchman Julien Duvivier who was to remain in Hollywood during World War Two. He had made a number of successful films, especially Pep le Moko. His films in Hollywood include Lydia, Tales of Manhattan, Flesh and Fantasy. After the war he returned to France where he continued making quite a wide range of films including two of the Don Camillo comedies.
The film was produced the same year that Hitler declared the Anschluss in Austria, annexing it to Germany. Many have seen this film as a protest against Hitler and his expansionist ideas, trying to present a Vienna and an Austria that had its own traditions and cultures which should not be destroyed.
While this is something of a romantic picture of Austria, it is a beautifully mounted film with so much of the Strauss music. There was another version in 1972 directed by Andrew L. Stone (who directed Song of Norway about Grieg) which was merely a popular Reader’s Digest kind of biography of Strauss and a chocolate-box one at that.
1. An entertaining film of the golden years of Hollywood? A classic musical? The popularity of Johann Strauss and the influence of this film over the decades? Remakes? The work of director Julien Duvivier? His Continental background? Working in Hollywood? '30s style?
2. The M.G.M. production values? Black and white photography? Re-creation of 19th. century Europe and Vienna? Pageantry? The staging of the musical numbers? The quality of the production of Strauss' music? The international cast? The European style? The sets, costumes, choreography? Editing? Duvivier's use of montage techniques for plot, for Strauss' music?
3. The title and the focus on the waltz? Strauss' contribution? The discussion about musical standards, the scandal of the waltz, Strauss' playing and its popularity, change of attitudes? Strauss' music and its creativity? Its popular appeal and response?
4. The character of Strauss? In himself? Viennese? Background of his father? His creativity, work, career? Private life? His place in Austrian history in the 19th. century?
5. The conventions of the film biography: the outline of the great man's life, the romantic tone, fidelity to the facts, the presentation of composition of music - the almost miraculous marvellous possibilities of composing (Tales from the Vienna Woods)? Personal crises? Revolution? Reward and the happy ending?
6. Strauss and the influence of his father, seeing him at work, his giving up the possibility of a business career? Poldi and her devotion, love, marriage? Revolutionary movements in Austria? Strauss and his encounters with the military, with the future Emperor? The orchestra and his friends, the cafe and the few visitors, the opening of the windows and the crowds dancing in the squares? Scenes of composition? Opera? The fame and response? His reaction to fame? Abandoning Poldi? The attraction towards Carla Donner? The rehearsals? The possibility of going on a trip with Poldi? Choices to go away with Carla Donner or not? His going back to Poldi? The end and the Emperor's tribute to him? A helpful sketch of Strauss' life and career?
7. Poldi and Luise Rainer's presence and style? Pleasant, quiet? Love and support? Her place in her family? The restaurant sequence and Strauss' success? Marriage, love? The crisis of affection? The clash with Carla Donner? Her staying in the background, the discussion about going to the opera and her dressing and going to fight? Her willingness to give up Strauss? The happy ending and the final tribute by the Emperor?
8. Carla Donner and her strong presence, the restaurant, her entourage. her fame? The Tales from the Vienna Woods and its composition? Singing Strauss' music? Opera? Her possessiveness? The clash with Poldi? The final confrontation and her leaving?
9. The publisher and his idiosyncrasies, comedy, deals?
10. The music world, the musicians, the orchestra and friends, family and celebrations?
11. The romantic look at European politics in the 19th. century? monarchies and empires, revolutions and the military?
12. Strauss and his contribution to music? Appreciation of his music?
