Tag Archives: 1940s

Milland is charming as Gilbert Sedley, an innocent professor – he’s apparently been isolated working in the Orient too long – who is baffled by his strong reactions to a young newspaper reporter, Kate Farrell (Teresa Wright). Why does he think of Niagara Falls whenever he’s around her?
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Willy Forst of course is famous for looking back on the ‘old Vienna’ in a mixture of nostalgia and gentle irony in his films, but “Wiener Blut” may be the one which most highlights the question of what makes the ‘true’ Viennese style. We get a first answer right at the beginning, when Forst himself masqueraded as a medieval alchemist mixes the ingredients for the brew of this film, which are ‘humour’, ‘frivolity’, ‘heart’, ‘history’ and most of all, ‘music’. And the film gets this mixture right.
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A man arrives at an isolated mountain inn clutching a small box. The man is panic-struck when, during a sudden blackout, the box disappears. To the assembled guests at the inn he tells his tragic story. The man, Roland Brissot, was once a penniless artist who, one day, bought a talisman from the owner of a restaurant for one franc.
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Trudy Kockenlocker, a small-town girl with a soft spot for American soldiers, wakes up the morning after a wild farewell party for the troops to find that she married someone she can’t remember–and she’s pregnant. Norval Jones, the 4-F local boy who’s been in love with Trudy for years, tries to help her find a way out of her predicament. Trudy complicates matters further by falling for Norval, and events snowball from there.
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Tongues begin to wag when a lonely widow becomes romantically involved with a military man. Problems arise when the gossip is filtered down to her own children.
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In divided Germany just after WWII, people from many different countries are passengers on a train. When one of the passengers, a German working for peace, is kidnapped by people who don’t want his ideas to work, the others must set aside their differences and work together to find him in time for an important conference.
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Clara Wieck meets the talented Robert Schumann in her father’s Leipzig music school. And entirely against her father’s wishes, who thinks only of her future artistic career, she falls in love with Robert. The final break comes after a successful tour as a pianist at the side of Franz Liszt.
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If any one man is responsible for the rejuvenation of the postwar Swiss film industry, that man was director Leopold Lindtberg. Matto Regiert (Madness Rules) was co-adapted for the screen by Lindtberg from a novel by Friedrich Glauser. Heinrich Gretler stars as Police Constable Studer, the hero of several of Glauser’s most popular works.
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Former burlesque star May and her daughter Peggy dance in the chorus. When May has a fight with featured dancer Bubbles, Bubbles leaves the show and Peggy takes her place. When Peggy falls in love with wealthy Randy, May fears class differences may lead to misery.
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Shiftless Jeeter Lester and his family of hillbilly stereotypes live in a rural backwater where their ancestors were once wealthy planters. Their slapstick existence is threatened by a bank’s plans to take over the land for more profitable farming; subplots involve the affairs and marriages of son Dude and daughter Ellie May.
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