The Cossack and the Nightingale

When I think about the fact that Novotná didn't want to film anymore and only made The Cossack and the Nightingale after a lot of pressure from Atlantis, who was enjoying the success of Frasquita... We lost out on a lot. In the early 1930s, Novotná learned a lot in German film, and when she had to branch out to Europe after 1933, Austria got a mature artist at her peak. And if they paired her, a magnificent Czech soprano, with the enchanting Serbian Petrovich, nothing but a magnificent spy novel from a better society with the wonderful exteriors of Egypt’s Cairo could be created. The theme was originally published in a sequel in Münchner Illustrierten. (13/03/2013)