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Reviews
Der schwarze Husar (1932)
Patriotism in a Tight Black Uniform and High Peaked Cap
The story is light and flimsy as Captain Hansgeorg von Hochsberg (Conrad Veidt) and his sidekick Leiut. Aribert von Blome, nicknamed Bubi (Wolf Albrech-Retty), ride through the beautiful German countryside, romancing Marie-Luise (Maddy Christians) and Brigitte (Ursula Grabley) and engaging in friendly banter, whilst outwitting and comically foiling the Russians and the French. The Russians are portrayed as loud, hot-tempered and arrogant, whilst the French are reduced to buffoons and sinister types. The comedy is played broadly without too much subtlety as pomposity is lampooned in a variety of ways from the Russian Prince Petrovsky (Gregori Chmara) being deprived of his trousers, to the fat, food obsessed French Governor Darmont (Otto Wallburg) attempting to ingratiate himself with Petrovsky who is actually Hochsberg in disguise! The Germans, of course, are portrayed as hearty, duty bound and heroic.
Conny cuts a dashing and handsome figure on his black horse in his tight black uniform and high peaked cap despite the bizarre hair beneath. He throws himself into the role of Hansgeorg von Hochberg with gusto as he romps through the comedy and roughly romances Marie-Luise whilst projecting an air of cultured authority and loyalty to his duty. He handles his horse with necessary firmness and displays his riding ability, although a double is used for the chase sequence at the beginning (and Conny is clearly saddle sore as he dismounts and greets Potrovsky!) He thoroughly enjoys the comedic moments and mercilessly scene steals at every opportunity particularly the scene with Darmont where he uses his white gloves and monocle to great effect. His romancing of Marie-Luise is abrupt as he passionately grabs the lady and presses his firm kisses upon her, she naturally objects before laughing and melting into his arms. A Germanic cliché perhaps, but heartfluttering for certain ladies. There is no great acting involved he is dashing and handsome, charming and authoritative, a little roguish but ultimately heroic
F.P.1 (1933)
Forget Science Fiction
A tall, sinister looking man, in full evening dress, plots something suspicious over the phone in a nightclub unsurprisingly he is overheard. Despite saying quite clearly "Lenartz shipyard
11 o'clock
" several times, when the eavesdropping lady asks what is happening at the Lenartz shipyard at 11.00pm, he denies any knowledge of the Lenartz shipyard! And so it continues
Connie appears to have been thrown into the film without his usual preparation although he does the only acting in the film. The scene when he explains to Claire that he was too embarrassed to return and that should she still want him he can be found in "
some Polish hotel" is touching despite the lumpy dialogue. But mostly, he stomps around oafishly not taking any of it seriously. Leslie Fenton plays his role sufficiently melodramatically for the ludicrous story but Jill Esmond is quite dreadful as the love interest. Donald Calthrop is excellent but there is not enough of him and everyone else is fair-to-middlin'. Despite all its faults, it is a likable film unintentionally hilarious at times.
Connie's English pronunciation is no where near as clear as in the earlier "Rome Express" (GB Walter Forde 1932) or the later "I Was A Spy" (GB Victor Saville 1933). His thick German accent obscures his English so much that a translation is required at times. He is trying very hard as his face proves whilst straining over the words "
captains of industry." He is photographed very badly light hitting the side of his head and casting unflattering shadows across his face. It is as though the lighting had not been adjusted from one film to another. He also has curiously bouffant hair... but he makes a warm and likable Ellissen.
Rasputin, Dämon der Frauen (1932)
This Rasputin is sinister and sexy!
An interesting little film, with clever direction and strong performances not to mention a storyline based on facts rather than exaggerating the 'evils' of the 'mad monk'. The whole film, however, is elevated by the towering performance of Conrad Veidt. His Rasputin is a simple man with crude manners and a strong appetite for carousing and womanising but he also deeply spiritual and mystical with a gift for healing. His rise from troublesome peasant to Royal Adviser is swiftly dealt with, between bouts of partying and drunken lechery with the ladies eager to join in! His impending doom and his demise are handled with skill, and once more Veidt brings forth his amazing capacity for expressing depths of intense emotion. The death scene is one that will chill you to the bone.
This film is based on manuscript produced by Ossip Dymow, a writer who had known Rasputin, as well as some of his friends and enemies, and so this production sticks to the facts as much as possible. It is a world away from the fabulous MGM Barrymore filled "Rasputin and the Empress" (aka "The Mad Monk")(US, Richard Boleslawski, 1933) with Lionel Barrymore gloriously hamming and riotously scene stealing through the production. The idea of Rasputin as a cunning monster who used his hypnotic powers to fulfil his lust for power and women is one that endures, and makes a great film. But this is a very different film. Adolf Trotz keeps the whole story moving along, and gives emphasis where necessary but on the whole keeps everything low key. It would have been easy to have Veidt's eyes hypnotising and captivating everyone around him, but Rasputin's gift is subtly revealed and Veidt's eyes are utilised to their startling best in the end scene. The production is not flawless and the inappropriate music that interrupts the end of Rasputin's life is a serious mistake. The performance of Conrad Veidt is utterly spellbinding and whilst creating a very human Rasputin, his presence is mesmerising enough for us to understand why so many fell under his influence.
This Rasputin is sinister and sexy!