The Czardas Princess (1927)

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Movie
Original title The princess of Czardas
Country of production Germany
original language German
Publishing year 1927
length 95 minutes
Rod
Director Hanns Schwarz
script Wilhelm Thiele
Ladislaus Vajda
production Peter Ostermayr
music Artur Guttmann
camera Curt Courant
occupation

The Czardasfürstin is a German silent film - Operetta from 1927. Directed by Hanns Schwarz playing Liane Haid and Oskar Marion the lead roles. The film is based on the operetta of the same name (1915) by Emmerich Kálmán .

action

Prince Edwin von Weylersheim would like to marry the beautiful lecturer Sylva Verescu, but his parents are strictly against it because the young woman does not seem “befitting” to them. The spirited dancer only plays a noblewoman in her professional life, namely when she is the " Csárdásfürstin " on stage . The class-conscious parents, on the other hand, have long since spied out a supposedly more suitable role for their filius, namely the Countess Stasi. The Weylersheims believe that it would be an ideal connection. Edwin doesn't feel like marrying this countess in the slightest, but apparently lets himself into it at first. It suits him very well that the Stasi confesses to him that she loves him no more than he loves her and that in truth she has long since picked someone else for herself. So Edwin's fiancé becomes his ally when it comes to outsmarting his parents and still being able to marry his Sylva.

The old von Weylersheim and his wife give a lavish party for the upcoming engagement. Here Edwin meets his Sylva again, who is accompanied by Count Boni, a friend of Edwin's. Since the "Csardasfürstin" is obviously not privy to the "plot" of Edwin and Stasis, she wants to get back to her lover and explains that Count Boni is her new fiancé. Sylva is upset when Edwin does not react to this explanation as she expected - the prince is not angry, but amused. He believes that Sylva only got engaged to the count in order to finally get the longed-for title of nobility that would make her as a future princess acceptable to his parents. Edwin agrees with this, and he advises Sylva to go through with this fake engagement. Edwin Sylva advises her to get a divorce as soon as possible. But now Sylva has had enough of this arrogance, and a scandal ensues. It turns out that not all of the nobles are "of the purest blood", and so Edwin and Sylva can still venture to the altar. The abandoned Count Boni gets Countess Stasi instead.

Production notes, publication

The shooting of Die Czardasfürstin began on September 10, 1926 in Hungary with the outdoor shots and was finished in January 1927 in the UFA studios in Potsdam-Babelsberg. The film passed the censorship on March 5, 1927 and was premiered on March 15, 1927 in Berlin's Ufa-Palast am Zoo . The strip produced with the help of the Hungarian Film Fund had six files, spread over 2,596 meters, and was banned from young people.

Uwe Jens Krafft designed the film structures, Fritz Klotzsch took over the production management. In 1926, István Eiben assisted head cameraman Curt Courant with the outdoor shots, while Helmar Lerski designed the special shots in Germany. Imre Ráday made his film debut here and was then offered a contract that enabled him to pursue a screen career in Germany.

reception

The film received little attention, but eight years later Oskar Kalbus gave in his booklet “Vom Werden der Deutschen Filmkunst” in view of the flood of operetta films from those late silent film years (“Die Försterchristel”, “Die chaste Susanne”, “Der Soldat der Marie”) , “The Gypsy Baron”, “The Orlov”, “The Begging Student”, “The Cheerful Farmer”, “Polish Economy”, “Princess Olalala”, “Countess Mariza”) general comments on this film genre: “You couldn't make up your mind to stop the filming of operettas, even though they are so far removed from the time problems that a connection between the operetta plot and reality can hardly be achieved. "

Individual evidence

  1. ^ Oskar Kalbus: On the becoming of German film art. 1st part: The silent film. Berlin 1935. p. 83.

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