NinadeL

The Countess of Monte-Christo is the story of two extras, Jeanette and Mimi, played by Brigitte Helm and Lucie English. Through their desire to become real actresses, a nice civilian plot from the filmmaking environment take place but with only a very light touch of the adventures of the real Edmond Dantès. The substitutions culminate and the obligatory love couple (Helm and Wieman) fall into each other's arms at the end. However, the scenes from the bathrooms (with lesbian overtones, of course) and nightlife are surreal, as was a great custom of Weimar cinema.

This is a great historical affair starring Lilian Harvey, who at the time was reunited with German cinema after her trip to Hollywood. After that, she only had an active career for a few more years and she changed a lot from her first sound films. Fanny Elssler offered Lilian more romantic exterior scenes, delightful costumes in a post-imperial vein, and above all, horseback riding and a gorgeous ballet as a magnificent solo at the end.

A delightful blockbuster of ultimate Weimar cinema with the popular trio of Lilian Harvey, Willy Fritsch, and Willi Forst. As the name suggests, the blonde dream is absolutely fulfilled. Jou-Jou and her dream of traveling to America, where she is greeted by the waving Statue of Liberty, culminates in a perfect spicy artistic number. It's just a shame that, like every dream, we always have to wake up...

Just like in Barbie as the Princess and the Pauper, which was the first musical in the series and an adaptation of the classic boy's substance based on Mark Twain's The Prince and the Pauper, this time we get a girl's retelling of a boy's classic. Alexandre Dumas Sr. wrote his The Three Musketeers in 1844 and it has inspired many adaptations since. The girl version is not exactly a novelty, though it may seem so, but Barbie definitely did serve as a very good springboard for one of their best films. This is nothing inflammatory with regard to the classics, but rather just an artful way of bringing a traditional story to the younger generation.

Untouched by Pollyworld after the year 2000, I see this film as a bit of a revelation, given that the last time I saw this phenomenon was in the 1990s when I spent time with the 1993’s Polly Pocket Pretty Pandas compact. But let's face it, today's youth has a slightly different idea regarding their ideals and therefore any toy that wants to stay on the market must necessarily adapt. However, I'm not sure that at a time when Mattel had already had great success with its computer-animated Barbies franchise, it was necessary to also launch this project, and in classic 2D animation... It certainly won't hurt the kids as a one-off backdrop, just like anything that resembles a mix of Daria, Winx Club and H2O: Just Add Water; however, time proved to us that a new wonderful series was not in the cards.

The Austrian film Der Wildfang is enjoyable and a wonderful complement to the Czech version. I was completely absorbed by the major and minor differences in the two films, both of which were staged by Jan Sviták. The main couple, Rolf Wanka and Roszi Csikós, impressed everyone so much in their time that they were reunited by Irenes Roman. Unlike Nancy Rubens, Roszi is a slightly more serious, subtle, and less spectacular protagonist. In fact, she is Nancy and Jiřina Steimarová from the Czech film Irca's Romance in one person. Her Thessa is not a wild girl, but a sporty girl who experiences real-life difficulties only when she falls in love. She's not as explosive and doesn't destroy everything around her when she’s in the mood. Her father, played by Fritz Imhoff, is somewhere else in the context of Theodor Pištěk in that he is not so spectacularly helpless and he is rather effeminate. Tibor von Halmay is also the bearer of a completely different comic style, his fearfulness is not brimming with double entendres and his mask is devoid of ideas. The pair Else Lord and Rudolf Carl, on the other hand, is more sympathetic than Antonia Nedošinská and Břetislav Hrstka, and their love is more believable. The others, including Lizzi Holzschuh, are very down to earth. Rolf Wanka as Peter Danner, Juniorchef der vereinigten Automobilfabriken, is a prime example of a multi-lingual actor who, like Anny Ondra, was perfectly able to adapt to partial nuances. While the Czech version richly supports Rubens' happy game, here it is more restrained and sophisticated.

When Lamač has taken on his work in positions other than that of director, the quality has always been enhanced. He also started to work on a libretto together with Bernd Hofmann based on the novel "Aber Innocenz" by Karl Hans Strobl.

Pat und Patachon im Paradies is an Austrian-Danish co-production shot in Hungary by Czech director Lamač with the assistance of Hungarian director Géza von Cziffra, who has a career in Germany. Rumor has it that by that time the famous duo had their unavoidable dispute, they didn’t speak German, or to each other. The result, however, is an interesting comedy that is all the better when watched by someone not very well versed in their previous films. Naturally, paradise means a tropical island and I have a real desire to understand this famous pair.

For Imperio Argentina, who transformed into Macarena Granada played by Penélope Cruz. Incidentally, as we can see today the double version Nights in Andalusia, filmed bilingually in German and Spanish, turned out great.

The fact is that Juliette was much further along then than the budding Pitt. It’s therefore not such a wonder that she shines a bit more than him. Anyone interested in the Lewis-Pitt duo has probably seen the excellent Kalifornia as well.