NinadeL

Well, this is finally a movie! To watch Orchids and Ermine is to be enthusiastic. Here the main character is called Pink, her life is a bed of roses because it's clear that she will marry richly and well. So now she’s training in advance for that. Instead of a fur coat, she puts a cat around her shoulders, picks up a flower for herself on the dirt road, and kindly tells the little black-skinned girl that she will take her in as her maid when necessary. How can I not love this? Look here, sir, my future husband may cover me with dust, as you do here, you fool, but my husband will cover my honorable head with gold dust. I will oblige! And what followed? A fabulous telephone liaison position in which she crossed the entire set of competition with her natural cuteness. Pink met a smug colleague and they went on a date to Long Island. There, it turned out that he who cultivates money-making as a sport is a chauffeur. And, of course, he gets fired for this falsity. This! And back then, there was no such attractive charade even halfway through! It must be clear to you by now that you cannot let something so delightful pass you by. Salvos of laughter, great ideas, excellent catchphrases, and Colleen Moore's chin.

Dangers of the Engagement is a wonderful experience. After all, who could resist another meeting of Marlene Dietrich's favorite dream couple and Willi Forst? Two years after Cafe Electric, we were able to see them for the second time and it was wonderful. A humorous introduction on the train with the help of a sparkling drink inspired the first night spent together in all honesty... although, can warming her divine feet be considered permissible when we learn in a moment that she is not quite as innocent as she first appeared? At the time of the meeting, she was already his father's fiancée! Which is a problem. So, the situation thus portrayed naturally leads to the dramatic climax par excellence in the ultimate Weimar melodrama. That's all I can say. This compelling film from the late silent era arrived in movie theaters just two months before the premiere of The Blue Angel, and the subsequent American career, unfortunately, suppressed most memories of Marlene's films from the 1920s, which is an eternal shame (affecting the difficulty of finding these films even today).

This film features Anny Ondra in her first sound continental film, which was a real sensation. However, the Big Four worked with a certain amount of confidence, casting all the familiar faces from their silent films around Anny, such as the great Sig Arno or Margarete Kupfer, and there was also room for Josef Rovenský in a small role. Each shot is a proper show and Anny gives us four flawless performances, each in a different vein. The opening shot with the crumbling piano is a match for any Marx Brothers film. Anny becomes the proclaimed Micky Mouse right after, and up her sleeve, she still has a small theater for her private company and a final puppet show where she is the main star in a magnificent ballet tutu. This is a brilliant film that set the bar very high not only for other Ondra-Lamač productions (this was their first feature film for the new Berlin-based brand), but also managed to make fun of the current hit of the same season, The Blue Angel. It’s inexhaustibly perfect. For example, the evolution of the gag with the dog in the train compartment continues here from Saxophone Suzi and is not lost in Honeymoon.

One of the most beautiful film adventures with Anny Ondra in an Ondra-Lamač-Film production. At first glance, it is a simple but brilliantly vivid story of a seamstress who marries into higher circles. When Monika Böhnicke sings "Mir ist heut' Nacht so sonderbar" at a party there is no happier girl in the world and no one who wouldn't fall in love with her. This film has that unique atmosphere of the early 1930s, of Weimar cinema, and of all the magic they used to make the audience feel like they were in paradise.

I really enjoyed this. A year and a half ago I accepted that this film didn’t exist and behold, now I enjoy every frame 3 times a day. The Love Hotel was the last Ondra-Lamač co-production in German and French, where they suddenly burst into as early as 1931. I love everything - the hits, the acrobatic scenes, the prison bars, and the ice revue. I think that Adolf Wohlbrück surpassed in his ability to seduce Ondra even such masters as Otto Rubík, Herman Thimig, and after him Hanzi Sénkr. Otherwise, Ondra could not have sighed longingly "Noch einen bitte ódr Jeszcze jeden!" This is indicative of everything in an interdisciplinary and congenial way. :))) And Vanderloo is no Waterloo! :D

This adaptation of Victor Herbert's 1910 operetta of the same name is one of those Jeanette MacDonald and Nelson Eddy films that can convince even the biggest critics of the beauty and importance of pre-war operetta. The theme is great - a young French noblewoman flees to the colonies from her arranged marriage and the adventure begins. Spectacular sets, great costumes, a thrilling plot, wit, and romance. Opulent and great in every way.

Personally, I see this substance as most appropriate for the constellation Marlene and Joe found themselves in after The Scarlet Empress... and again, as with the vast majority of the films on my list, I gasp at every frame. In this case, literally, because Joe was behind the camera. Concha Perez became the fate not only of Pasqualito but also of my little things.

Wow, this was wonderful! It is unfortunately true that DEFA products are often underrated to the point of shame. To see the sixty-year-old Lili Palmer as Werther's immortal lover at their second glorious meeting in life is a treat. I still can't get the young ladies from the Weimar Cultural Association out of my head after many weeks. It also took a somewhat detective spirit to find out what was really going on with Miss Adele Schopenhauer and Ottilie von Pogwisch.