Vittorio e Vittoria

An operetta of dramatic interactions in rhymes, sometimes sung, sometimes in recitative form. In short, fantastic fun. If the critic Moniz Vianna's favorite musical was "Love Me Tonight", (1932), and the critic J. L. Grunewald's favorite musical was "Maytime", (1937), I'm led to believe that neither of them got to watch "Viktor und Viktoria", whose premise is complex and certainly funny: a real woman falls into Skittish Susanne Lohr (Renate Mueller, adorable ) falls in love with one of the men she tries to pose as a man in front of vaudeville. ... him!

A sweeping musical - full of melodies sung in rhyming couplets. A reminder of the spirit of freedom and joy enjoyed in pre-III Reich Germany. The date of production, 1933, means that it passed through Nazi censorship, and yet it is still an example of innocence, mischievousness and high cinematic sophistication. There is absolutely no homosexuality there. Hermann Thimig's character, with all the quirks and for all intents and purposes, is straight. The gallant Adolf Walbrook (who would soon change his name to Anton to stop being the namesake of the Nazi dictator) has suspected all along that Viktor is really Viktoria. The film is seen as a time machine trip to the era of the Weimar Republic. Like contemporary René Clair's comedies, it's full of slapstick scenes. And specialists who appreciate cinematographic language will be especially delighted with the montage based on (technically so called) curtains (instead of cuts, fades or lightening, just like as in, for example, Kurosawa's 7 Samurai)

Many are aware that Viktor and Viktoria was remade in the U.S. as Victor/Victoria, but an English-language remake was made the following year in the U.S. starring Jessie Matthews and Barry McKay. The film follows the German script closely including the scene with the geese, but allows McKay to be in on the impersonation much earlier. Intriguingly, neither the German nor UK version contain a single hint of homosexuality -- female and male impersonation were simply accepted theatrical forms. No nudge-nudge wink-wink. One of the more poignant and droll scenes in the German film is when the ambitious thespians descend several flights of stairs in a seedy theatrical booking building, singing to a joyous martial melody that they will climb ever higher and higher-- as they descend and descend.

This film was obviously the inspiration for the 1982 film VICTOR/VICTORIA, but that film went off appropriately in the direction that a contemporary film about gender role-playing should go into. They thankfully did not remake this original film, because this film stands on its own as extremely entertaining, and as a fascinating glimpse into the last carefree days of filmmaking in the Weimar Republic. It is an incredible record of its era. Much of the dialogue is spoken in verse (and very cleverly I might add!), and there are musical numbers that make one reflect on both the Busby Berkeley musicals of 1930s Hollywood and of the film CABARET, made decades later. The cast is exemplary. Renate Muller should have been a bigger star than Marlene Dietrich, and it's exciting to see Anton Walbrook looking younger and more dashing than ever. The film doesn't go into the same risque sexual identity antics that VICTOR/VICTORIA went into, but it still provides some amusing turns on gender role-playing, including a hilarious scene where "Viktoria" gets a shave. It is just a pure delight all the way through, and fans of VICTOR/VICTORIA will enjoy making comparisons.

Viktor Hempel (Hermann Thimig) has played many parts; one of which is of a woman. He crosses paths with Susanne Lohr (Renate Müller) at an opportune time when he has a cold and can not go on. She goes on in his place and when she reveals herself to be a man by taking a wig off, is an instant success. The story gets complex when she falls for a man and can not tell him that she is a woman. Little does she know he found out. So he has fun leading her on. Will she ever find out that he knows?

The movie shows many interesting things about the Weimar era such as an automat. The singing is from the 30's so they have that warble that you heard in Disney's Snow White. And the movie has a lot of slapstick filler. Many times Viktor is unnecessarily a dufus. I have a sparse German vocabulary and am lucky most of the characters spoke slowly or at least used basic statements. There is also a smidgen of English including a song about Spain. The film would have been easer to follow if Deutsch sub-titles were available.

The DVD I Watched is region 2 from Black Hill Pictures GmbH. You may need a multiregional player or do a little ripping and converting to play.

Viktor Hempel (Hermann Thimig) has played many parts; one of which is of a woman. He crosses paths with Susanne Lohr (Renate Müller) at an opportune time when he has a cold and cannot go on. She goes on in his place and when she reveals herself to be a man by taking a wig off, is an instant success. The story gets complex when she falls for a man and cannot tell him that she is a woman. Little does she know he found out. So, he has fun leading her on. Will she ever find out that he knows?

The movie shows many interesting things about the Weimar era such as an automat. The singing is from the 30's so they have that warble that you heard in Disney's Snow White. And the movie has a lot of slapstick filler. Many times, Viktor is unnecessarily a dufus. I have a sparse German vocabulary and am lucky most of the characters spoke slowly or at least used basic statements. There is also a smidgen of English including a song about Spain. The film would have been easier to follow if Deutsch sub-titles were available.

The DVD I Watched is region 2 from Black Hill Pictures GmbH. You may need a multiregional player or do a little ripping and converting to play. I believe there is a region one available now.