Before I started these comments, I first read many of the others made by a wide range of people - I was amazed to find that some were reading far too much into the storyline,( which everyone who has seen the movie knows it is pure hokum) or belittling the film for its treatment of the life of Johann Strauss. Why not go and see it, and enjoy the sheer entertainment of the Music, the acting of Luise Rainer, the voice of Miliza Korjus (who will ever forget her rendition of "One Day When We Were Young" - who cares if Strauss did or did not write it!), So "The Tales from the Vienna Woods" was written overnight - does it matter that free licence was taken, surely the name of the game is to entertain, and this film does that. Hugh Herbert and Lionel Atwill add fun and spice to one of the more entertaining musicals of the 1930's.
52 Reviews
Three-Quarter Tome
writers_reign6 January 2007
Warning: Spoilers
As a great admirer of Julien Duvivier and now, at last, having seen The Great Waltz some 60 plus years after it was made I can't help wishing that Duvuvuer had been tempted to Hollywood by something a little more substantial. I don't, of course, know the circumstances but given the horror stories about Hollywood moguls that we were weaned on it's not difficult to imagine a discussion in which the reasoning is 'we're doing a movie about an Austrian waltz king set in Vienna and up to here in schmaltz so why don't we get that French guy who did those things about tough guys in Africa (La Bandera, Pepe Le Moko) and the Popular Front (La Belle Equipe). Great idea, boss, let's get a cable off toot sweet. I wasn't there at the time but with hindsight it's ludicrous that Duvivier followed his masterpiece (just one of his masterpieces actually) Un Carnet du bal with this dross although there is a kind of left-handed logic given that Un Carnet du bal concerned a woman's treasured memories of her first ball where the prevailing mood would have been three-quarter time. Sixty-odd years later trying to look past the wooden Gravet and the 'stage' Austrian accents (ah, Shhsstrrowss) personified by Sig Ruman in the opening scene we're able to salvage the sure-footed direction and directorial touches of Duvivier and see what today looks hokey - the ride in the Vienna woods in which every sound is a musical note contributing to the instant composition Tales Of The Vienna Woods - as the magical sequence it must have seemed to a world hungry for escapism with a major conflict waiting in the wings. Likewise the quicksilver crochets and quavers that dance over an inept bank clerk's ledger in the opening scene - indeed the economy which in that same scene delineates Strauss as a frustrated musician trapped in a world of finance. Known to me more as the wife of another great writer, Clifford Odets, than an actress, Luise Rainer has little to do in the emoting stakes but Duvivier does use her effectively in the scene at the Opera House when he shows us how insignificant is a mere wife against ART, personified in this case by the mighty Opera House, the performers and, of course, Composers. I'm glad I saw it - and indeed now own it thanks to a generous French friend, but I'll be watching both Un Carnet du bal and the film Duvivier made immediately after The Great Waltz, La Fin du jour, much more than returning to this.
Fiction Good, Historical, zero.
sb-47-60873729 July 2018
When I look at the movie as a pure work of fiction, the movie had been good, or may be a bit better than good.
But when you work with historical characters, a bit of facts had to be there, at least there should not be glaring inconsistencies. Duvivier should have done a bit better research, after all it was not even 100 years old happening. Marischka in his Sissy, Willy Jurek or even Victoria movies had kept better historical accuracys, even though there too he had included fictional romantic characters (except in Sissies, where the romantic two really existed).
Since the introduction itself tells that except Strauss and Kaiser Franz Josef I, all other characters are fictional, I too would neglect those, except salient happenings. Interestingly, if I combine Luise Rainer (Poldi) and Miliza Korjus (Carla) together that would probably be Johann's real wife, Henrietta Treffz (who was a soprano) plus may be Marianne Preindlsberger - probably only a muse, without any real affair (in addition 30 years younger, and Johann's first wife still alive).
But major inconsistencies are a) During this period, the illustrious father and namesake Johann Strauss I was still alive, so there was no reason that people would be so ignorant of the name. Least of all, Hofbauer, the famous music publisher. Though it was a fact that Junior, going against his father's wishes, struggled by himself, but still his father's name had helped him a bit. b) Kaiser Franz Josef was five years younger than Strauss, but in the movie it looks opposite, in fact even more than minus five. In fact when Kaiser Josef has reached the age/ looks as shown, most probably Strauss was dead. c) The purpose of revolution of '48 is completely misplaced. d) During the revolution, Strauss II did join the revolutionaries, this much is fact. Though reason unknown, since definitely he couldn't have the same demand as these. In fact. probably he got off easily thanks to his father, Strauss I, who was still alive, and in the Kaiser's camp.
Since the romance is fictionalized, I won't go for the 15 years difference in marriage dates (1848 vs actual 1862) or the song dedications, for example the farewell song - 'one day when we were young', could have been his famous Blue Danube waltz (that was dedicated to above Frln. Marianne Preindlsberger)
It is my personal opinion, that when you make historical movies with actual characters, you may introduce fictional characters, create fictional romance, but that should never contradict with the facts. On that score, I have to mark the movie down, than what it would have got, had been purely fiction with other fictional names. ,
But when you work with historical characters, a bit of facts had to be there, at least there should not be glaring inconsistencies. Duvivier should have done a bit better research, after all it was not even 100 years old happening. Marischka in his Sissy, Willy Jurek or even Victoria movies had kept better historical accuracys, even though there too he had included fictional romantic characters (except in Sissies, where the romantic two really existed).
Since the introduction itself tells that except Strauss and Kaiser Franz Josef I, all other characters are fictional, I too would neglect those, except salient happenings. Interestingly, if I combine Luise Rainer (Poldi) and Miliza Korjus (Carla) together that would probably be Johann's real wife, Henrietta Treffz (who was a soprano) plus may be Marianne Preindlsberger - probably only a muse, without any real affair (in addition 30 years younger, and Johann's first wife still alive).
But major inconsistencies are a) During this period, the illustrious father and namesake Johann Strauss I was still alive, so there was no reason that people would be so ignorant of the name. Least of all, Hofbauer, the famous music publisher. Though it was a fact that Junior, going against his father's wishes, struggled by himself, but still his father's name had helped him a bit. b) Kaiser Franz Josef was five years younger than Strauss, but in the movie it looks opposite, in fact even more than minus five. In fact when Kaiser Josef has reached the age/ looks as shown, most probably Strauss was dead. c) The purpose of revolution of '48 is completely misplaced. d) During the revolution, Strauss II did join the revolutionaries, this much is fact. Though reason unknown, since definitely he couldn't have the same demand as these. In fact. probably he got off easily thanks to his father, Strauss I, who was still alive, and in the Kaiser's camp.
Since the romance is fictionalized, I won't go for the 15 years difference in marriage dates (1848 vs actual 1862) or the song dedications, for example the farewell song - 'one day when we were young', could have been his famous Blue Danube waltz (that was dedicated to above Frln. Marianne Preindlsberger)
It is my personal opinion, that when you make historical movies with actual characters, you may introduce fictional characters, create fictional romance, but that should never contradict with the facts. On that score, I have to mark the movie down, than what it would have got, had been purely fiction with other fictional names. ,
Tale of the Vienna composer...and what gorgeous music!!
Doylenf14 May 2001
This fictional account of Johann Strauss' life is highlighted by one of the most exquisite scenes in musical history--far from real of course--in which the composer and an operatic diva are driven through the woods in horse and buggy while the countryside comes alive with the sound of music. The pastoral beauty of the scene itself combined with the intricate way 'Tale of the Vienna Woods' is woven into the musical scene (as composer Strauss begins humming the tune along with his diva friend) is just one of the charming highlights of this MGM musical.
Swirling waltzes are captured with such superb angles in the Oscar-winning camerawork, it's no wonder David O. Selznick was impressed enough to insist that his own technical staff derive inspiration from viewing the film.
Soprano Miliza Korjus does some excellent trills as the operatic diva who steals Strauss from his wife (temporarily) until the obligatory happy ending. Luise Rainer suffers gracefully (in an insufferable role as the wife!!) and Fernand Gravet does well as the composer. His scenes with Miliza Korjus are what makes the film the gem that it is. She all but steals the film and was nominated for a Supporting Actress Oscar and then disappeared from the American scene, returning to Europe to resume her operatic career.
Swirling waltzes are captured with such superb angles in the Oscar-winning camerawork, it's no wonder David O. Selznick was impressed enough to insist that his own technical staff derive inspiration from viewing the film.
Soprano Miliza Korjus does some excellent trills as the operatic diva who steals Strauss from his wife (temporarily) until the obligatory happy ending. Luise Rainer suffers gracefully (in an insufferable role as the wife!!) and Fernand Gravet does well as the composer. His scenes with Miliza Korjus are what makes the film the gem that it is. She all but steals the film and was nominated for a Supporting Actress Oscar and then disappeared from the American scene, returning to Europe to resume her operatic career.
Johann Strauss II in words and music
blanche-27 February 2009
Jules Duvivier directed this opulent, highly fictionalized musical film about Johann Strauss II. "The Great Waltz" stars Luise Rainer, Fernand Gravet and Miliza Korjus.
Strauss II married several times, but none of his wives were named Poldi Vogelhube. She is most likely modeled on Strauss' third and last wife. The Carla Donner character, with whom Strauss falls in love, did not exist. Strauss did form an orchestra, however, consisting of friends at the tavern, and did play at Dommayer's Casino. He also was involved in the revolution on the side of the revolutionaries.
None of these biographical facts are the point of this movie - it's about the beautiful music, the singing, and the romance. There it succeeds, and the film was an enormous success, especially in the European markets.
Luise Rainer gives a lovely performance as Poldi, who faces losing her beloved husband to another woman, and Gravet is an effective Strauss. Thalberg gave the European coloratura Korjus, who plays operatic diva Carla Donner, a contract on the basis of one of her recordings. We can assume it wasn't a recording of her singing Die Fledermaus.
Korjus was a good bet for Hollywood - she was beautiful, glamorous, a good actress and a good singer, with a few caveats. She had a lovely quality to her voice, glorious pianissimos, and her technique was adequate, but her coloratura high notes were straight and screechy. Her singing of Die Fledermaus toward the end of the film is massively off-pitch - it's surprising the recording was not re-done.
The best scene in the film is Strauss and Donner going through the Vienna Woods and Strauss coming up with the Tale of the Vienna Woods while listening to the birds and hearing the different rhythms as they travel. A very fun scene.
An incredibly expensive film with beautiful music, costumes and dancing.
Strauss II married several times, but none of his wives were named Poldi Vogelhube. She is most likely modeled on Strauss' third and last wife. The Carla Donner character, with whom Strauss falls in love, did not exist. Strauss did form an orchestra, however, consisting of friends at the tavern, and did play at Dommayer's Casino. He also was involved in the revolution on the side of the revolutionaries.
None of these biographical facts are the point of this movie - it's about the beautiful music, the singing, and the romance. There it succeeds, and the film was an enormous success, especially in the European markets.
Luise Rainer gives a lovely performance as Poldi, who faces losing her beloved husband to another woman, and Gravet is an effective Strauss. Thalberg gave the European coloratura Korjus, who plays operatic diva Carla Donner, a contract on the basis of one of her recordings. We can assume it wasn't a recording of her singing Die Fledermaus.
Korjus was a good bet for Hollywood - she was beautiful, glamorous, a good actress and a good singer, with a few caveats. She had a lovely quality to her voice, glorious pianissimos, and her technique was adequate, but her coloratura high notes were straight and screechy. Her singing of Die Fledermaus toward the end of the film is massively off-pitch - it's surprising the recording was not re-done.
The best scene in the film is Strauss and Donner going through the Vienna Woods and Strauss coming up with the Tale of the Vienna Woods while listening to the birds and hearing the different rhythms as they travel. A very fun scene.
An incredibly expensive film with beautiful music, costumes and dancing.
There Are Moments When This Movie Soars
evanston_dad12 April 2022
A title card at the beginning of "The Great Waltz" claims that the movie is not meant to be a factual biopic about Johann Strauss, but is rather meant to capture the spirit of his music. Fine by me. This movie is better for not giving us a paint by numbers history lesson about the life of the famous composer.
And this movie makes mostly good on its promise, absolutely soaring at multiple times throughout, mostly when focusing on Strauss's music. The film looks gorgeous, justifying its Academy Award for Best Cinematography (which went to Joseph Ruttenberg, one of only two people -- the other being Leon Shamroy -- to win four career Oscars for cinematography).
But then the movie will pause to dwell on a dreary romantic triangle that features Luise Rainer, a good actress who's saddled with a lame role, and Miliza Korjus, an opera singer turned actress who managed to win an Oscar nomination for a not very good performance. Her singing might have been delightful by standards of the time, but it is almost literally unbearable to listen to now, and there was a moment during her incessant trilling during what otherwise was a beautiful Strauss waltz when I yelled at the television for her to shut up.
In addition to Best Cinematography and Best Supporting Actress, "The Great Waltz" garnered a nomination for Best Film Editing, one of two editing nominations that year that went to Tom Held (he was also nominated for "Test Pilot"). Poor guy didn't win either of them.
Grade: B+
And this movie makes mostly good on its promise, absolutely soaring at multiple times throughout, mostly when focusing on Strauss's music. The film looks gorgeous, justifying its Academy Award for Best Cinematography (which went to Joseph Ruttenberg, one of only two people -- the other being Leon Shamroy -- to win four career Oscars for cinematography).
But then the movie will pause to dwell on a dreary romantic triangle that features Luise Rainer, a good actress who's saddled with a lame role, and Miliza Korjus, an opera singer turned actress who managed to win an Oscar nomination for a not very good performance. Her singing might have been delightful by standards of the time, but it is almost literally unbearable to listen to now, and there was a moment during her incessant trilling during what otherwise was a beautiful Strauss waltz when I yelled at the television for her to shut up.
In addition to Best Cinematography and Best Supporting Actress, "The Great Waltz" garnered a nomination for Best Film Editing, one of two editing nominations that year that went to Tom Held (he was also nominated for "Test Pilot"). Poor guy didn't win either of them.
Grade: B+
Charming Story, but Not Much Bio or Drama
Mike-76414 May 2003
Tells the story of Johann Strauss, II, from the times of him as a struggling composer to in his later years as the accomplished composer of Vienna, while meanwhile involved in the love triangle with his long suffering wife, Poli, and diva opera star, Carla Donner. As mentioned in the summary, this has little to do with the true life story of Strauss, but captures the essence of his music, which is timeless. Rainer is believable as Strauss' wife, Gravet has fun in his role of Strauss and gives a pleasing performance, Huber & Bois provide decent comic relief, but Korjus radiates and steals every scene she is in as Donner. Duvivier has fun with the musical aspects of the film, but his attempts at drama come off as appearing very weak. Ruttenberg's cinematography is exquisite and Tiomkin remarkably pulled off the task of arranging Strauss' waltzes & polkas into the main score. Rating- 7.
Good light entertainment
jcorelis-2433627 April 2017
The Great Walz is a classic "Hollywoodization" bio-pic, one which hardly pretends to be accurate, but which uses the life story of an historical character as a basis for atmosphere and entertainment. In this case the subject is "The Walz King" Johann Strauss II, who was responsible for the craze for the dance that conquered Vienna and much of Europe in the mid 19th century. Made by veteran director Julien Duvivier, who made umpteen films during his long career, most of them forgotten today except for the classic Pepe le Moko, The Great Walz is endearingly filled filled with schmaltz and cliché, and features the absolutely incredible soprano vocals of Miliza Korjus (she was Oscar nominated for best supporting actress.). All in all, an enjoyable light entertainment. I saw this in the Turner Entertainment standard DVD which was of acceptable quality.
My opinion about the movie The Great Waltz.
Esierra24 February 2005
I own a VHS copy of The Great Waltz. I have seen this movie I don't know how many times! I was very young when I saw the movie for the first time, and it made a great impact on me and ever since then, I feel the urge to look and hear the magnificent singer and actress that, in my opinion takes the first place in this movie: MILIZA KORJUS. I have managed to collect ALL her recordings, I think., but I never saw the movie as a political issue or as they say here, as anti Nazi film! Nothing of the sort! To me it's a delightful movie and a great vehicle for the display of the many talents of Miliza Korjus and also for the rest of the cast and the romanticism involved in the whole movie.
Scmaltz, Grand Smaltz
jakob131 February 2016
The New York Times has spoken long of Julien Duvivier. Does he deserve a retrospective? Yes, he indeed does. A good place for the English speaking world to begin is the 1938 'Great Waltz', with a grand cast of mainly European actors: Luise Reiner, Fernand Gravet, Miliza Korjus, Herman Bing, Sig Ruman, and the usual American character actors like Hugh Herbert and Leonid Kinsky and the British Lionel Atwill, who once played the lead opposite Marlene Dietrich in von Sternberg's 'The Devil is a Woman'. Is it too much to say in this sentimental, romanticized Hollywood rewriting of Strauss' life, with music and song and dancing and period costumes that it had something that we find in the UFA films Nazi Germany churned out with the likes of Zarah Leander. Grand fluff to distract the masses from the Great Depression and daily hardship and the gathering of war clouds in Asia and Europe. The year 1938 and the idealization of Vienna is an anachronism, for it was that very year that Hitler's troops annexed Austria to Germany. And the pogrom against Jews and leftists and anti Nazis began with the outcome we tragically came to know. It was Luise Reiner's first film, and she won the Oscar for best actress, which she well deserves as Poldi Strauss' wife. The contralto Korjus added great glamour and the argent clarity of her voice as the other woman. Gravat infused his Strauss with the fantasy of the musical genius he was, as the film had his inspiration say for Tales of the Vienna Woods and Blue Danube come into his mind as though they were generated spontaneously. And then Hollywood enlisted the lyrics of Oscar Hammerstein II to make sure our toes were tapping to the rhythm of the waltz...making everything so Gemutlich and coating the story with more sugar than necessary. Almost 78 years later, it's a grand, but silly film to watch.
This "Waltz" Isn't So Great
Rob-12019 January 2015
"The Great Waltz" is a *very* loose adaption of the life of Johann Strauss II. It might be going too far to call it a "biopic," since most of it is made up. At best, you could call it a "musical soap opera," where one of the characters just happened to be a real person. (The opening credits include the disclaimer: "We have dramatized his spirit rather than the facts of his life, because it is his spirit that has lived – in his music." Riiiiiight.)
In 1844, Johann "Jonny" Strauss II (French actor Fernand Gravet) quits his job as a banker, and begins to write waltzes. He soon has all of Vienna twirling. Strauss marries Poldi Vogelhuber (Luise Rainer), the daughter of a Viennese baker, but falls in love with Carla Donner (Miliza Korjus), a flirtatious opera singer. Strauss must then choose between going back to Poldi, or sailing away with Carla down the Blue Danube.
The movie chucks the real details of Strauss's life out the window, in favor of a Hollywood drama. The real Strauss was married three times, but Poldi and Carla are both fictional characters. And the film makes no mention of the intense father/son rivalry that existed between Strauss I and II.
Overall, the plot is the standard "musical genius torn between two women" story that we've all seen before. Some scenes get ridiculous, i.e. the "musical inspiration" scene where Strauss is riding through the Vienna Woods in an open carriage. The birds singing in the trees are literally cheeping the tune from "Tales of Vienna Woods," giving him the music to write it, while the horse pulling the carriage is clip-clopping along in three-quarter time (which would be impossible, unless you have a three-legged horse).
One halfway-accurate scene shows Strauss leading protesters into the Emperor's palace during the 1848 Revolution. Although in real life, Strauss supported the revolution, he didn't march with the protesters. (Henry Hull, of "Werewolf of London" fame, plays the young Franz Joseph I.)
Fernand Gravat does okay in the main role as "Jonny" Strauss. But as usual with these "musical composer biopics," we get too many scenes of him conducting the orchestra, waving his baton wildly as the music soars.
Luise Rainer once again plays the jilted-but-loyal wife, all weepy and teary and doe-eyed, supporting her rotten husband, and thinking only of his happiness, even as he prepares to leave her for another woman. It's a role that Rainer had played (and won Oscars for) in "The Great Ziegfeld" and "The Good Earth." At this point, she was almost being typecast in these kinds of roles.
Although Rainer gets top billing, her "jilted wife" is really a supporting role. The main focus of the story is on the romance between Strauss and Carla. Rainer barely appears in the first hour of the movie; it's only in the second hour that her character has her moments. As usual, she handles the part well, but if these were the only kinds of roles that rat bastard Louis B. Mayer could give her, it's probably a good thing that she got out of Hollywood when she did.
Polish opera singer Miliza Korjus does well in her role as Carla Donner. The filmmakers hired Oscar Hammerstein II to write some dopey lyrics for Strauss's waltzes, so she would have something to sing. But her voice is magnificent, and she is very well trained as a singer. Korjus did the smart thing, and got out of Hollywood as well. (An auto accident prevented her from completing her next film, and after she recovered, she went on a South American singing tour and never looked back.)
The production values are all terrific. The Oscar-winning cinematography is innovative for its time, as is the quick-cut editing between teams of waltzing dancers. The art direction showing 19th century Vienna is magnificent. The costumes are great, especially Miliza Korjus' shimmering ball gown. The orchestrations of Strauss' music by Miklos Rozsa is handled with great panache, and the waltz dances are all expertly choreographed. Despite its flaws, the film does give some idea of the genius and impact of Strauss's waltzes.
The lack of bankable stars in this film made it one of MGM's biggest disappointments of 1938.
In 1844, Johann "Jonny" Strauss II (French actor Fernand Gravet) quits his job as a banker, and begins to write waltzes. He soon has all of Vienna twirling. Strauss marries Poldi Vogelhuber (Luise Rainer), the daughter of a Viennese baker, but falls in love with Carla Donner (Miliza Korjus), a flirtatious opera singer. Strauss must then choose between going back to Poldi, or sailing away with Carla down the Blue Danube.
The movie chucks the real details of Strauss's life out the window, in favor of a Hollywood drama. The real Strauss was married three times, but Poldi and Carla are both fictional characters. And the film makes no mention of the intense father/son rivalry that existed between Strauss I and II.
Overall, the plot is the standard "musical genius torn between two women" story that we've all seen before. Some scenes get ridiculous, i.e. the "musical inspiration" scene where Strauss is riding through the Vienna Woods in an open carriage. The birds singing in the trees are literally cheeping the tune from "Tales of Vienna Woods," giving him the music to write it, while the horse pulling the carriage is clip-clopping along in three-quarter time (which would be impossible, unless you have a three-legged horse).
One halfway-accurate scene shows Strauss leading protesters into the Emperor's palace during the 1848 Revolution. Although in real life, Strauss supported the revolution, he didn't march with the protesters. (Henry Hull, of "Werewolf of London" fame, plays the young Franz Joseph I.)
Fernand Gravat does okay in the main role as "Jonny" Strauss. But as usual with these "musical composer biopics," we get too many scenes of him conducting the orchestra, waving his baton wildly as the music soars.
Luise Rainer once again plays the jilted-but-loyal wife, all weepy and teary and doe-eyed, supporting her rotten husband, and thinking only of his happiness, even as he prepares to leave her for another woman. It's a role that Rainer had played (and won Oscars for) in "The Great Ziegfeld" and "The Good Earth." At this point, she was almost being typecast in these kinds of roles.
Although Rainer gets top billing, her "jilted wife" is really a supporting role. The main focus of the story is on the romance between Strauss and Carla. Rainer barely appears in the first hour of the movie; it's only in the second hour that her character has her moments. As usual, she handles the part well, but if these were the only kinds of roles that rat bastard Louis B. Mayer could give her, it's probably a good thing that she got out of Hollywood when she did.
Polish opera singer Miliza Korjus does well in her role as Carla Donner. The filmmakers hired Oscar Hammerstein II to write some dopey lyrics for Strauss's waltzes, so she would have something to sing. But her voice is magnificent, and she is very well trained as a singer. Korjus did the smart thing, and got out of Hollywood as well. (An auto accident prevented her from completing her next film, and after she recovered, she went on a South American singing tour and never looked back.)
The production values are all terrific. The Oscar-winning cinematography is innovative for its time, as is the quick-cut editing between teams of waltzing dancers. The art direction showing 19th century Vienna is magnificent. The costumes are great, especially Miliza Korjus' shimmering ball gown. The orchestrations of Strauss' music by Miklos Rozsa is handled with great panache, and the waltz dances are all expertly choreographed. Despite its flaws, the film does give some idea of the genius and impact of Strauss's waltzes.
The lack of bankable stars in this film made it one of MGM's biggest disappointments of 1938.
The dream of Vienna
mik-197 May 2004
I was prepared to find that Julien Duvivier, maestro of such astonishing French pictures as 'Pépé le Moko' and 'Carnet de bal', had sold out completely to Hollywood, but actually 'The Great Waltz' blew me away.
Yes, the story is utter hokum and bears only superficial similarity to the actual Johann Strauss II or the the Vienna of his time. Why is that a surprise to some? It's a given! Hollywood was always like that, now as ever. What Duvivier does manage to convey is the dream of Vienna, the illusory magic of the city that was the capital of musical Europe, and thereby of the world.
Duvivier made this amazing film with attention to every detail, the smallest character performance, even the extras have obviously been minutely directed. The film is always stylistically innovative, the editing fast-paced and often surprising, the style whirling, ecstatic, dynamic, and at all times slightly camp. There are so many show-stopping scenes in the film that I wouldn't even know where to start listing them. The script is wonderful, the dialogue consistently funny, interiors are luminous, the cinematography revolutionary and clearly related to what Rouben Mamoulian was doing in Hollywood in the early 1930's.
The actors? Absolutely great. Fernand Gravey does a fair job, but the two women shine above everything else. Polish coloratura soprano Miliza Korjus sings the Strauss songs in a way that admittedly sound rather corny and old-fashioned today, but as an actress, playing the opera diva that Strauss is two-timing his wife with, she is gorgeously wicked, one of the most glamourous beings even in the Hollywood of the 30's. But even she is overshadowed - by Luise Rainer who, in this picture, can do no wrong in a part that is very, very hard to make substantial. She is Strauss' long-suffering, unselfish wife, but there is absolutely no melodrama in her performance. The evolution of the chararacter that is Poldi Strauss is extremely well-calculated, and she remains the centre, the gravity of the picture. And when we think that now she has suffered long enough, she says, "Now is not a time to lie down, now is time to act!".
Forget all petty reservations and brace yourselves for a real treat, a film that time has all but forgotten, but a masterpiece none the less.
Yes, the story is utter hokum and bears only superficial similarity to the actual Johann Strauss II or the the Vienna of his time. Why is that a surprise to some? It's a given! Hollywood was always like that, now as ever. What Duvivier does manage to convey is the dream of Vienna, the illusory magic of the city that was the capital of musical Europe, and thereby of the world.
Duvivier made this amazing film with attention to every detail, the smallest character performance, even the extras have obviously been minutely directed. The film is always stylistically innovative, the editing fast-paced and often surprising, the style whirling, ecstatic, dynamic, and at all times slightly camp. There are so many show-stopping scenes in the film that I wouldn't even know where to start listing them. The script is wonderful, the dialogue consistently funny, interiors are luminous, the cinematography revolutionary and clearly related to what Rouben Mamoulian was doing in Hollywood in the early 1930's.
The actors? Absolutely great. Fernand Gravey does a fair job, but the two women shine above everything else. Polish coloratura soprano Miliza Korjus sings the Strauss songs in a way that admittedly sound rather corny and old-fashioned today, but as an actress, playing the opera diva that Strauss is two-timing his wife with, she is gorgeously wicked, one of the most glamourous beings even in the Hollywood of the 30's. But even she is overshadowed - by Luise Rainer who, in this picture, can do no wrong in a part that is very, very hard to make substantial. She is Strauss' long-suffering, unselfish wife, but there is absolutely no melodrama in her performance. The evolution of the chararacter that is Poldi Strauss is extremely well-calculated, and she remains the centre, the gravity of the picture. And when we think that now she has suffered long enough, she says, "Now is not a time to lie down, now is time to act!".
Forget all petty reservations and brace yourselves for a real treat, a film that time has all but forgotten, but a masterpiece none the less.
Great Waltz Takes Some Disappointing Steps **1/2
edwagreen20 November 2007
Warning: Spoilers
Am one of the few critics who was disappointed by 1938's "The Great Waltz." While it is true that the music is wonderful, it also must be noted that the first part of the film is rather dull.
Luise Rainer came into this film after back to back Oscar wins in 1936 and 1937. At the beginning of the film, her behavior is rather churlish. That laughter that she displays is outright annoying. It is only when she is married to Strauss that she shows maturity and her performance becomes better.
Miliza Korjus, a wonderful opera singer, sings beautifully here but when she speaks, I thought I was viewing a comedy. Ms. Korjus reminded me of a Bette Midler talking like the late comedienne Martha Raye or as Katina Paxinou did in "Mourning Becomes Electra" in 1947.
The picture takes place during the backdrop of the various revolutions circa 1848. As far as this film was concerned, I never saw a revolution go by so quickly.
The film basically deals with the romance between Strauss (an appealing Fernand Gravet) and Carla Donner (Ms. Korjus- who acts more like a Prima Dona here).
It is ironic that the film did little to enhance the careers of Gravet, Rainer and Korjus. Korjus never made another American film despite her Oscar nomination as best supporting actress. After a series of flops, Rainer was washed up in films by 1942 and who ever heard of Gravet again?
Luise Rainer came into this film after back to back Oscar wins in 1936 and 1937. At the beginning of the film, her behavior is rather churlish. That laughter that she displays is outright annoying. It is only when she is married to Strauss that she shows maturity and her performance becomes better.
Miliza Korjus, a wonderful opera singer, sings beautifully here but when she speaks, I thought I was viewing a comedy. Ms. Korjus reminded me of a Bette Midler talking like the late comedienne Martha Raye or as Katina Paxinou did in "Mourning Becomes Electra" in 1947.
The picture takes place during the backdrop of the various revolutions circa 1848. As far as this film was concerned, I never saw a revolution go by so quickly.
The film basically deals with the romance between Strauss (an appealing Fernand Gravet) and Carla Donner (Ms. Korjus- who acts more like a Prima Dona here).
It is ironic that the film did little to enhance the careers of Gravet, Rainer and Korjus. Korjus never made another American film despite her Oscar nomination as best supporting actress. After a series of flops, Rainer was washed up in films by 1942 and who ever heard of Gravet again?
Standard bio-pic but the music makes up for it
jjnxn-111 October 2013
Beautiful music interwoven throughout a standard script. The Vienesse Teardrop does well enough in her stock role of the long suffering put upon wife and as always she cries beautifully but Fernand Gravey is flat in the lead. The kind of picture where Strauss can compose Tales from the Vienna Woods just by taking a carriage ride through them with Miliza Korjus happily trilling away and suddenly without any struggle whatsoever have the whole thing ready for a performance at the end of said ride! A great deal of Strauss' music is here so that is a tremendous inducement but there is also quite a bit of operatic singing, if that's your cup of tea great, all others beware.
Great music can sometimes send you to a place between Heaven and Earth
cellinitwo20 September 2002
My wife and I viewed this picture on TV 9/20/02. The acting by all was so real and the music, the settings, and the singing by M. Korjus so incredibly beautiful it brought tears for the shear emotion as the story unfolded. I recommend this movie to anyone needing an uplifting of spirit, so poignant as to bring tears enough to cry away your troubles and to anyone who enjoys movies of such caliber as are so few these days. Bravo
Poor acting by Rainer
deexsocalygal5 May 2021
I couldn't get over how bad the actress Luise Rainer was that played Strauss's wife! I almost couldn't finish watching because of her. One scene that comes to mind is when Lionel Atwell comes to her house to tell her that Strauss has been having an affair with the Opera singer.
I gave the movie a 6 because of the beautiful music & Miliza Korjus' voice. Was she an Opera singer AND an actress? I'm assuming she really did both because I couldn't see any sign that she was lipping it. She was so pretty and the gowns she wore were gorgeous. The scenes where she dances with Strauss make the movie. It's worth it to watch this just to see them swirling around the dance floor to his music.
I gave the movie a 6 because of the beautiful music & Miliza Korjus' voice. Was she an Opera singer AND an actress? I'm assuming she really did both because I couldn't see any sign that she was lipping it. She was so pretty and the gowns she wore were gorgeous. The scenes where she dances with Strauss make the movie. It's worth it to watch this just to see them swirling around the dance floor to his music.
Exhilarating experience
evening124 January 2022
Warning: Spoilers
If you're feeling down, here's a cinematic antidote.
Fernand Gravey as Johann Strauss II is a delightful guide though his most famous compositions, and Milizia Korjus, whom I'd never before encountered in a film, coruscates as the coloratura diva Carla Donner, who appreciates Strauss's gifts and charm.
The resplendent waltz scenes in this work provide respite from a world of clickable detritus, with their aesthetic treasures reaching a climax in the sun-dappled, birdsong-punctuated Vienna Woods segment.
This production doesn't pretend to be historically accurate, so it's best viewed as a tutorial in joys of the classical arts. Along the way, it grapples with the dilemmas of extramarital attraction.
Released a year before "The Wizard of Oz," this film's glittery Milizia Korjus character perhaps inspired the evanescent look of Glynda, Good Witch of the West.
The movie drags a bit in its revolutionary scenes. Hey, let's leave that to "Les Miserables"!
Fernand Gravey as Johann Strauss II is a delightful guide though his most famous compositions, and Milizia Korjus, whom I'd never before encountered in a film, coruscates as the coloratura diva Carla Donner, who appreciates Strauss's gifts and charm.
The resplendent waltz scenes in this work provide respite from a world of clickable detritus, with their aesthetic treasures reaching a climax in the sun-dappled, birdsong-punctuated Vienna Woods segment.
This production doesn't pretend to be historically accurate, so it's best viewed as a tutorial in joys of the classical arts. Along the way, it grapples with the dilemmas of extramarital attraction.
Released a year before "The Wizard of Oz," this film's glittery Milizia Korjus character perhaps inspired the evanescent look of Glynda, Good Witch of the West.
The movie drags a bit in its revolutionary scenes. Hey, let's leave that to "Les Miserables"!
Fictionalized biography of Johann Strauss featuring Oscar-winning Cinematography
jacobs-greenwood8 December 2016
Directed by Julien Duvivier, with a screenplay by Samuel Hoffenstein and Walter Reisch that was based on a story by Gottfried Reinhardt, this fictionalized biography-drama of Vienna's Johann 'Schani' Strauss II features Fernand Gravet (aka Gravey) as the prolific composer, who is perhaps best known for his waltz The Blue Danube aka "On the Beautiful Blue Danube".
Several of Strauss's compositions, waltzes and operas, were given lyrics by Oscar Hammerstein II for Gravet and/or Miliza Korjus as opera singer Carla Donner, from Budapest, to perform. The operatic Korjus earned a Best Supporting Actress Academy Award nomination for her film debut which was also (effectively) her only movie role. Luise Rainer plays Strauss's delicate yet not too fragile wife Poldi (née Vogelhuber); she apparently tolerated her husband's indiscretions like his affair with Carla, depicted in this film. Cinematographer Joseph Ruttenberg won his first Oscar (on his first nomination) for his swirling camera work and Tom Held's Editing was also nominated.
Quirky Hugh Herbert plays Strauss's music publisher Julius Hofbauer, Lionel Atwill plays Count Anton 'Tony' Hohenfried who covets Carla, Leonid Kinskey plays Dudelman, Herman Bing plays the proprietor Otto Dommayer who first gave Strauss a chance to play his music in public, Alma Kruger plays Strauss's mother (Poldi's understanding mother-in-law), Henry Hull plays Franz Josef, who would become Emperor of Austria after the uprising during which this film's story shows he'd encountered Strauss, Sig Rumann plays the banker who fires the future composer at the beginning of the story, and Christian Rub plays the coachman who (in this movie, at least) helped Johann and Carla compose the recognizable "Tales from the Vienna Woods", also during the Austrian revolution.
Several of Strauss's compositions, waltzes and operas, were given lyrics by Oscar Hammerstein II for Gravet and/or Miliza Korjus as opera singer Carla Donner, from Budapest, to perform. The operatic Korjus earned a Best Supporting Actress Academy Award nomination for her film debut which was also (effectively) her only movie role. Luise Rainer plays Strauss's delicate yet not too fragile wife Poldi (née Vogelhuber); she apparently tolerated her husband's indiscretions like his affair with Carla, depicted in this film. Cinematographer Joseph Ruttenberg won his first Oscar (on his first nomination) for his swirling camera work and Tom Held's Editing was also nominated.
Quirky Hugh Herbert plays Strauss's music publisher Julius Hofbauer, Lionel Atwill plays Count Anton 'Tony' Hohenfried who covets Carla, Leonid Kinskey plays Dudelman, Herman Bing plays the proprietor Otto Dommayer who first gave Strauss a chance to play his music in public, Alma Kruger plays Strauss's mother (Poldi's understanding mother-in-law), Henry Hull plays Franz Josef, who would become Emperor of Austria after the uprising during which this film's story shows he'd encountered Strauss, Sig Rumann plays the banker who fires the future composer at the beginning of the story, and Christian Rub plays the coachman who (in this movie, at least) helped Johann and Carla compose the recognizable "Tales from the Vienna Woods", also during the Austrian revolution.
The Great Waltz is Wunderbar
guidon72 January 2005
Perhaps the number one Hollywood musical film of all time. "Gorgeous Korjus" was coined and used by Louis B. Mayer to promote her film career, which understandably would be short. Not only is she gorgeous in GW but turns in an excellent acting performance which drew an academy award nomination. Her acting role rivals or exceeds consummate actress and two-time academy award winner, Luise Reiner. Displaying the temperament of a real primadonna, Miss Korjus turns on her good and bad sides when you least expect it. Vocal waltzes are extremely difficult to sing and Korjus with her coloratura soprano does admirably. Frenchman Fernand Gravet is believable as Strauss (as far as the film is believable) and ably supported by the likes of Lionel Atwill and Hugh Herbert along with many others, few of whom have a Teutonic accent, but we still have a romantic view of old Vienna. It is not a factual biography, which is stated at the beginning of the film, but there are elements of truth in the composite of Strauss the Elder and Strauss the younger as performed by Gravet (Strauss the Younger was a womanizer and while married actually had a liaison with an opera singer, among others). The Vienna Woods segment is pure joy. Strauss playing Tales from the Vienna Woods on his violin and Carla Donner singing in accompaniment's, their whirling dancing, ending up on the ground, where Strauss goes no further and wistfully admits "Carla, I'm married." The audience, I think, expects a tantrum from Donner at this revelation, but she gracefully takes it in stride and fools us once again with her unpredictability! This scene, to me, was the high point of an exceptional film of the type we shall never see again.
An aggravating movie
richard-178724 January 2009
Yes, I know that most of the others who have reviewed this movie on here loved it, but I found The Great Waltz to be particularly aggravating.
Granted, there is some remarkable camera work here.
Other than that, however, this movie struck me as very weak.
Louise Rainer, whose success I have never understood, once again plays a character who seems to have a sign reading "Kick me" on her back. All she does is whimper. When she finally decides to acquire some backbone and fight to hold on to her husband, the scene reminded me of the similar moment near the end of "The Women." Rainer's performance only paled further in comparison to Norma Shearer's, however.
Meliza Korjus, the other female lead, was better, and had a stronger, more interesting character. Still, it sometimes ended up being a battle between the accents. Rainer's was a general European mishmash; Korjus sometimes sounded perilously close to Fanny Brice. Both could have used a few weeks with a diction coach, which MGM had on hand in those days.
And then there were the god-awful orchestrations. Imagine if Milos Forman had asked John Williams to "arrange" Mozart's music for Amadeus. Music lovers would have been outraged, and rightly so. Yet this movie had the equivalent. Strauss was a very fine orchestrator of his own music. Instead, however, this movie presented it in wildly overdone "arrangements" by someone else (Dimitri Tiomkin). Korjus had a high coloratura voice, but the movie sometimes has her tossing off high staccati in people's faces in a way that is most freakish and not at all musical. Strauss' music is great, but it isn't served well in this movie.
No, the plot bears little resemblance to the facts of Strauss' life. That doesn't bother me, as it was made clear in the opening credits. But the story that was provided was not, at least to me, of any interest. Strauss, though married, falls in love with a singer. She finally leaves him, when he is ready to abandon his wife for her, for no apparent reason. At the end of the movie, 50 years later, when all of Vienna sings his music, Strauss still thinks back to that singer. Granted, given that he has spent the intervening time with the mousy and whimpering Rainer, one can't blame him, but it makes for a strange end to this generally unsatisfactory movie.
If you like Strauss's music, listen to it as he wrote it. If you want good acting or an interesting script, don't look for it here. This is pretty much a complete waste.
Granted, there is some remarkable camera work here.
Other than that, however, this movie struck me as very weak.
Louise Rainer, whose success I have never understood, once again plays a character who seems to have a sign reading "Kick me" on her back. All she does is whimper. When she finally decides to acquire some backbone and fight to hold on to her husband, the scene reminded me of the similar moment near the end of "The Women." Rainer's performance only paled further in comparison to Norma Shearer's, however.
Meliza Korjus, the other female lead, was better, and had a stronger, more interesting character. Still, it sometimes ended up being a battle between the accents. Rainer's was a general European mishmash; Korjus sometimes sounded perilously close to Fanny Brice. Both could have used a few weeks with a diction coach, which MGM had on hand in those days.
And then there were the god-awful orchestrations. Imagine if Milos Forman had asked John Williams to "arrange" Mozart's music for Amadeus. Music lovers would have been outraged, and rightly so. Yet this movie had the equivalent. Strauss was a very fine orchestrator of his own music. Instead, however, this movie presented it in wildly overdone "arrangements" by someone else (Dimitri Tiomkin). Korjus had a high coloratura voice, but the movie sometimes has her tossing off high staccati in people's faces in a way that is most freakish and not at all musical. Strauss' music is great, but it isn't served well in this movie.
No, the plot bears little resemblance to the facts of Strauss' life. That doesn't bother me, as it was made clear in the opening credits. But the story that was provided was not, at least to me, of any interest. Strauss, though married, falls in love with a singer. She finally leaves him, when he is ready to abandon his wife for her, for no apparent reason. At the end of the movie, 50 years later, when all of Vienna sings his music, Strauss still thinks back to that singer. Granted, given that he has spent the intervening time with the mousy and whimpering Rainer, one can't blame him, but it makes for a strange end to this generally unsatisfactory movie.
If you like Strauss's music, listen to it as he wrote it. If you want good acting or an interesting script, don't look for it here. This is pretty much a complete waste.
One of the great MGM musicals
frankd-612 January 2000
THE GREAT WALTZ is one of the all-time great musicals with memorable orchestrations of its magnificent music, beautiful, swirling cinematography, Luise Rainer at her heartbreaking best and Miliza Korjus outrageously divine in performance and voice. The plot adroitly mixes music, smaltz and sentiment with several scenes of heartbreaking, dramatic power. This movie is an absolute joy, a treasure to be seen and enjoyed year after year.
In some ways, very well made....but also dreadful story-telling!
planktonrules6 February 2011
Boy, did I hate watching this film. Now it wasn't because I dislike the music of Strauss--it's very nice. But the movie isn't really a movie at all, but a HUGE showcase for LOTS of his music--and often its sung to in an operetta-like way. Frankly, there was way too much of this and not enough story and the result is an amazingly dull film. In many ways, it reminds me of making a meal out of wax fruit--it LOOKS nice but is not the least bit satisfying. Now this problem was heightened by the bad casting decisions. The film is, for the most part, made up of nobodies--people with no particular acting ability but who looked nice in nice clothes and could sing. The only big name in the film is poor little Luise Rainer--who seemed totally lost. She wasn't a singer and her part was completely undeveloped. And, there was also Hugh Herbert--a guy who seemed to have absolutely no reason for being in this film, as his style and this film are polar opposites.
By advice is buy a CD of Strauss' music or listen to some on Rhapsody and then watch a GOOD film--one with a plot. Also, with parts like this, I could certainly understand the two-time Oscar winner, Rainer, retiring soon after making this film.
By advice is buy a CD of Strauss' music or listen to some on Rhapsody and then watch a GOOD film--one with a plot. Also, with parts like this, I could certainly understand the two-time Oscar winner, Rainer, retiring soon after making this film.
By Strauss!
jotix10013 January 2006
Julien Duvivier, the great French director, had a brief career in Hollywood during WWII. Alas, the movies he was involved with, didn't fare as well as the ones he did in France. It must have been difficult for a man of his stature to try his hand at film making in America because of problems with artistic control of his pictures and the way things were done in Hollywood.
"The Great Waltz" was a fine example of what M. Duvivier could do. This glorious 1938 MGM film was one of the most loved films of that period. Not only that, but even if the subject matter, Johann Strauss' life was not accurate, at least his great music is heard in the film. The exquisite art direction Cedric Gibbons gave the picture and the beautiful costumes from Adrian made this a favorite of the movie going public of that time.
The life of the struggling musician who had a lot of talent, but whose music was a departure from what has been heard in Vienna before him, was something movies loved to tell. Whether or not this was a true account of the composer's life, it's still a visually rich film.
Fernand Fravey as Strauss gives a good performance. Luise Ranier makes the suffering and self-sacrificing Poldi, one of her best creations. The true star of the film though, is Milizia Korjus, who as the gorgeous soprano Carla Donner steals the show with her singing and her looks. Hugh Herbert, Alma Kruger, Curt Bois, and the rest of the cast do great work for Julien Duvivier.
"The Great Waltz" is a film that's not seen often these days and it's a shame because it's an excellent excuse for going back to that period and the great music Strauss gave to the world.
"The Great Waltz" was a fine example of what M. Duvivier could do. This glorious 1938 MGM film was one of the most loved films of that period. Not only that, but even if the subject matter, Johann Strauss' life was not accurate, at least his great music is heard in the film. The exquisite art direction Cedric Gibbons gave the picture and the beautiful costumes from Adrian made this a favorite of the movie going public of that time.
The life of the struggling musician who had a lot of talent, but whose music was a departure from what has been heard in Vienna before him, was something movies loved to tell. Whether or not this was a true account of the composer's life, it's still a visually rich film.
Fernand Fravey as Strauss gives a good performance. Luise Ranier makes the suffering and self-sacrificing Poldi, one of her best creations. The true star of the film though, is Milizia Korjus, who as the gorgeous soprano Carla Donner steals the show with her singing and her looks. Hugh Herbert, Alma Kruger, Curt Bois, and the rest of the cast do great work for Julien Duvivier.
"The Great Waltz" is a film that's not seen often these days and it's a shame because it's an excellent excuse for going back to that period and the great music Strauss gave to the world.
One of my absolute all time favorite movies!
richardjstanford7 April 2002
A perfect and absolute delight from beginning to end. The great music of Johann Strauss is performed in such beautiful, elaborate settings! MGM reproduced Vienna and the era perfectly. It is too bad this was the only film in which Miliza Korjus appeared. Such a magnificent voice and charming personality! The carriage ride in the Vienna Woods and that final, unbelievable, note she holds for what seems like eternity are never to be forgotten. Luise Rainer is wonderful and could always convey such emotion without ever uttering a word. Perfect casting, with so many great character actors in supporting roles.
Really really bad--but with one redeeming scene
alanjj15 October 2000
I was surprised at how bad this movie was. I expected something frothy, but something that kept to the general outlines of the life of Strauss and the history of Austria. The movie outrightly disclaims any such truths. It is entirely a fantasy based on Strauss's life, with no connection to reality. As such, it's a silly story about a man who loses his job at the bank because he likes to write waltzes, marries the baker's daughter, starts up a band to play his waltzes, has instant success when he is discovered by the leading songbird of Vienna, is swept away by that songbird to neglect his wife, and is saved from the brink of running away with the singer when she finally sees how bad this would be for Strauss's career.
But what about the music? Even with such a gooey plot, the music should have made this a wonderful picture. But it is ruined, in my opinion, by the awful singing of Miliza Korjus. Maybe that high-pitched singing was once thought divine, but it gave me a headache. I would much rather have heard the waltzes played and the dances danced without that awful singing.
There is one scene, however, that saves this picture from the utter abyss. That is the "Tales of the Vienna Woods" scene, which is surrealistic, beautiful, melodic, rhapsodic, and tuneful. It is a magical scene that starts when Strauss and the songbird escape from being arrested in the revolution by hiring a hansom to take them to the Vienna Woods (the only road not roadblocked). They fall asleep. When they awake, they hear a variety of sounds and rhythms that lead Strauss to compose, on the spot, Tales of the Vienna Woods. It is a great creative way to explain the evolution of a piece of music. Of course, I'm sure it has nothing to do with reality, but what a fantasia!
But what about the music? Even with such a gooey plot, the music should have made this a wonderful picture. But it is ruined, in my opinion, by the awful singing of Miliza Korjus. Maybe that high-pitched singing was once thought divine, but it gave me a headache. I would much rather have heard the waltzes played and the dances danced without that awful singing.
There is one scene, however, that saves this picture from the utter abyss. That is the "Tales of the Vienna Woods" scene, which is surrealistic, beautiful, melodic, rhapsodic, and tuneful. It is a magical scene that starts when Strauss and the songbird escape from being arrested in the revolution by hiring a hansom to take them to the Vienna Woods (the only road not roadblocked). They fall asleep. When they awake, they hear a variety of sounds and rhythms that lead Strauss to compose, on the spot, Tales of the Vienna Woods. It is a great creative way to explain the evolution of a piece of music. Of course, I'm sure it has nothing to do with reality, but what a fantasia!
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