Who the Gods Love (1942)

from Wikipedia, the free encyclopedia
Movie
Original title Whom the gods love
Who the gods love Logo 001.svg
Country of production Germany
original language German
Publishing year 1942
length 111 minutes
Rod
Director Karl Hartl
script Eduard von Borsody ,
Richard Billinger (novel),
E. Strzygowski (novel)
production Karl Hartl
camera Günther Anders
cut Henny Brünsch , Karl Hartl
occupation

Who the Gods Love is a German feature film from 1942 made in what is now Austria . It is based on a novel by Richard Billinger and E. Strzygowski and has the composer Wolfgang Amadeus Mozart as its theme. After Eine kleine Nachtmusik from 1939, it is the second feature film about Mozart from the National Socialist era .

Karl Hartl , the director of this film, made another feature film about Mozart in 1955 with Reich mir der Hand, mein Leben (main role: Oskar Werner ).

action

After the falling out with his employer, the Archbishop of Salzburg , Hieronymus von Colloredo , Wolfgang Amadeus Mozart set off on a trip to Paris in the company of his mother . During the trip, he asks his mother to successful stopover in Mannheim to Aloysia Weber to visit, in which he has recently fallen in love. By performing a song composed by Mozart, Aloisia got a job at the princely court. Reluctantly, Mozart traveled on to Paris.

But the success that he was able to celebrate here as a child prodigy is not repeated; in addition, his mother dies in Paris. So Mozart travels back to Salzburg. A few years later he moved to Vienna . After a few professional setbacks - during this time Mozart kept himself afloat with music lessons - his friends at the court musician von Strack advocate Mozart; He promises, initially reluctantly, to present Emperor Joseph II Mozart's new composition, a demanding string quartet. The emperor was impressed by Mozart's ability and commissioned him to compose the opera Die Entführung aus dem Serail .

In the meantime, Mozart meets Aloisia's sister Sophie and learns that Aloisia has married the court actor Joseph Lange . During Mozart's visit to the Weber family, Mozart and Constanze Weber fall in love; however, Mozart's mother rejects her daughter's marriage candidate. Inspired by the plot of his opera, Mozart decides to escape with Constanze and secretly marry her. During the premiere of the Abduction from the Seraglio , the first son of the Mozart couple is born.

During the composition of Figaro's wedding , the family struggled with financial problems. The Mozarts get a visit from Aloisia, who sings the Cherubino in "Figaro". To Constanze's chagrin, Mozart and Aloisia get closer during rehearsals. On the occasion of Mozart's new opera project, Don Giovanni , he and Constanze travel to Prague ; this time too, Aloisia is involved in the project. When the relationship between Mozart and Aloisia grew ever more intense, Constanze wanted to leave for Vienna, but to Mozart's delight she stayed in Prague.

While Mozart is working on his new opera, The Magic Flute , and is struggling with health problems, a mysterious messenger commissions him to compose the Requiem . While Constanze goes to Baden for a cure and Mozart is occupied with composing the Magic Flute and the Requiem at the same time , he becomes convinced that the funeral mass is intended for himself.

Mozart receives a visit from the young Ludwig van Beethoven , who plays for him. Mozart is impressed by the novelty of his young colleague's music and describes himself as tired despite his young 35 years.

Mozart conducts the Requiem one last time from the sickbed and dies.

Reviews

“Biographical film about the life and work of Mozart. In places exaggeratedly emotional, but still entertaining because of the music - especially from operas. Carefully staged. "

"Mozart's life in a film whose superficial design hardly does justice to the personality of the composer."

See also

Web links

Individual evidence

  1. Whom the gods love. In: Lexicon of International Films . Film service , accessed March 2, 2017 .Template: LdiF / Maintenance / Access used 
  2. Munich, Review No. 806/1953