Many comments here on IMDB lament the fact that there's not much of Billy Wilder's trademark cynicism in this film but, c'mon---it's a BING CROSBY MUSICAL, for Pete's sake--NOT "Sunset Boulevard", which Wilder and writer Brackett would produce a few years later.
However, the final half-hour of the film does turn rather dramatic and even dark....during which Wilder does indeed seem to be commenting -- through Bing Crosby's character----on the haughty, outmoded, class-driven traditions of the Austrian aristocracy (Wilder's homeland) and, by extension, the recently defeated Third Reich. So, ENOUGH of the social commentary stuff!
"The Emperor Waltz" is one of the most GORGEOUS, sumptuous-looking films I've even seen; the amount of period detail and richly-textured color and depth is astounding, especially for a film that is tossed off as "just another" whimsical outing for Mr. Crosby.
True, the script's focus on the antics of the two lead canines is a bit tiresome (and I certainly didn't appreciate the 2 brief fight scenes between them, which were vicious). But the parallel development of doggy and human romancing was enjoyable, as were the charming (and "kitschy") musical scenes: the mountaineer's yodeling dance, the servants' impromptu ballet in the Inn lobby, and the symphonic string orchestra of the townspeople (clearly these were real orchestral musicians dressed in period costume, since they all played their instruments with great skill--MUCH better than actors faking the movements!)
Bing's character is brash and at times obnoxious, and the resulting animosity and resentment between him and Roland Culver's excellent Count/father is deftly conveyed. BTW-- the count's final line to Lucille Fletcher at the end of the film was a true laugh-out-loud moment for me-- just one of many highlights of the Brackett/Wilder screenplay.
The superb acting of Richard Haydn is also marvelously displayed--as always, a master of understatement. Too bad he was so often cast in those silly, adenoidal professor roles; he was capable of SO MUCH more (check him out in 1947's "Forever Amber"; he's really terrifying). The scene in which the aging, world-weary Emperor meets with Bing to discuss marriage and phonographs marks a major turning-point in the film. The Emperor's unexpected calm, insight and wisdom are remarkable-- and the dialogue is superbly written (too bad that the extensive age make-up on Haydn seems to be failing during this scene-- the front edge of the bald-cap looks wrinkled, resulting in a few deep furrows and ridges. Still, his performance dominates).
And the big ballroom scene near the end, with the Emperor's grand entrance to the strains of the Austrian National Anthem (which we know would be cynically co-opted by the Nazi regime in the '30's and re-titled "Deutschland Uber Alles"), and Bing's dramatic entrance carrying the trio of wee newborns, is grandly cinematic, exciting stuff. Again, Richard Haydn's Emperor remains calm and dignified...but now with just of touch of the warmth and humanity we had hoped for, which comes as a welcome relief.
"The Emperor Waltz" turns out to be a MUCH more substantial film than I had expected during the first two-thirds of its running time. And it is so amazingly LOVELY to look at, to boot.
LR
However, the final half-hour of the film does turn rather dramatic and even dark....during which Wilder does indeed seem to be commenting -- through Bing Crosby's character----on the haughty, outmoded, class-driven traditions of the Austrian aristocracy (Wilder's homeland) and, by extension, the recently defeated Third Reich. So, ENOUGH of the social commentary stuff!
"The Emperor Waltz" is one of the most GORGEOUS, sumptuous-looking films I've even seen; the amount of period detail and richly-textured color and depth is astounding, especially for a film that is tossed off as "just another" whimsical outing for Mr. Crosby.
True, the script's focus on the antics of the two lead canines is a bit tiresome (and I certainly didn't appreciate the 2 brief fight scenes between them, which were vicious). But the parallel development of doggy and human romancing was enjoyable, as were the charming (and "kitschy") musical scenes: the mountaineer's yodeling dance, the servants' impromptu ballet in the Inn lobby, and the symphonic string orchestra of the townspeople (clearly these were real orchestral musicians dressed in period costume, since they all played their instruments with great skill--MUCH better than actors faking the movements!)
Bing's character is brash and at times obnoxious, and the resulting animosity and resentment between him and Roland Culver's excellent Count/father is deftly conveyed. BTW-- the count's final line to Lucille Fletcher at the end of the film was a true laugh-out-loud moment for me-- just one of many highlights of the Brackett/Wilder screenplay.
The superb acting of Richard Haydn is also marvelously displayed--as always, a master of understatement. Too bad he was so often cast in those silly, adenoidal professor roles; he was capable of SO MUCH more (check him out in 1947's "Forever Amber"; he's really terrifying). The scene in which the aging, world-weary Emperor meets with Bing to discuss marriage and phonographs marks a major turning-point in the film. The Emperor's unexpected calm, insight and wisdom are remarkable-- and the dialogue is superbly written (too bad that the extensive age make-up on Haydn seems to be failing during this scene-- the front edge of the bald-cap looks wrinkled, resulting in a few deep furrows and ridges. Still, his performance dominates).
And the big ballroom scene near the end, with the Emperor's grand entrance to the strains of the Austrian National Anthem (which we know would be cynically co-opted by the Nazi regime in the '30's and re-titled "Deutschland Uber Alles"), and Bing's dramatic entrance carrying the trio of wee newborns, is grandly cinematic, exciting stuff. Again, Richard Haydn's Emperor remains calm and dignified...but now with just of touch of the warmth and humanity we had hoped for, which comes as a welcome relief.
"The Emperor Waltz" turns out to be a MUCH more substantial film than I had expected during the first two-thirds of its running time. And it is so amazingly LOVELY to look at, to boot.
LR