Quote:
A female cabaret singer is put on trial for murdering a predatory musician.

Wikipedia wrote:
Warner Brothers Studios acquired the U.S. distribution rights but shelved the film in favor of its own scene-by-scene 1937 English language remake, Confession, which starred Kay Francis. Mazurka’s sets were designed by the art director Hermann Warm. It was partly shot on location in Warsaw. The film was made by Cine-Allianz whose Jewish owners Arnold Pressburger and Gregor Rabinovitch were dispossessed during pre-production of the film.

1.30GB | 1h 32m | 696×574 | mkv

https://nitro.download/view/8ED540A579501F6/Mazurka.(Willi.Forst.1935).TVRip.mkv
or
https://fikper.com/CLJWjH7CTi/Mazurka.(Willi.Forst.1935).TVRip.mkv.html

Language:German,French
Subtitles:English

The post Willi Forst – Mazurka (1935) first appeared on Cinema of the World.

Review:
“Maskerade” is the second film directed by Willi Forst. While the ‘Vienna film’ had been popular since the early 1930s not least due to Forst’s work as an actor and singer, it was “Maskerade” that brought the genre to a probably never surpassed high point.

The plot, set in Vienna around 1900, seems to be feather-weight at first sight. When a nude drawing of a society lady, made by the artist Heideneck (Adolf Wohlbrück), gets into the newspaper by accident, a near scandal is caused. Heideneck saves his neck by randomly giving the name of an unknown girl as the drawing’s model. However, a romance soon develops between the artist and the girl (Paula Wessely), which causes the jealousy of Heideneck’s former girlfriend Anita (Olga Tschechowa)…

The film is a masterpiece not only because of its portrayal of the ‘old’ Vienna, but even more because of its precision: the script by Walter Reisch is spot-on, the sets by Oskar Strand are sumptuous, and the camerawork of Franz Planer is a beauty to behold. Adolf Wohlbrück, perfectly dressed as always, probably gives the finest performance of his early years; Paula Wessely immediately became a star after this film due to her warm-hearted, but never sentimental acting. Further attractions include a small appearance by Hans Moser, an opera performance in which we hear an authentic Caruso recording on the soundtrack, and of course the ravishing ball sequence with which the film opens.

But Forst was a far too intelligent filmmaker not to know that too much sugar causes toothache (as we learn from Moser in this film). After all, it’s the Sacher sweets that Wohlbrück constantly offers to others that finally very nearly cause his fatal end. And so the film is at once a celebration and an ironic analysis of Viennese society life, with Forst keeping the stance of a carefully dissecting, distanced observer.

— Tommaso

http://nitroflare.com/view/4BDFF6A2CF0FF4B/1934_-_Maskerade_24p.mkv
http://nitroflare.com/view/5656E53F7BB17B2/1934_-_Maskerade_24p.eng.srt
http://nitroflare.com/view/B2DA3AE7E380457/1934_-_Maskerade_24p.esp.srt

Language(s):German
Subtitles:English, Spanish (muxed, srt)

The post Willi Forst – Maskerade AKA Masquerade in Vienna (1934) first appeared on Cinema of the World.

“Frauen sind keine Engel” was made on a moderate budget and has generally found not as much attention as that which has been rightfully accorded to his ‘Viennese trilogy’ made at about the same time. Please don’t expect the outward splendour of some other Forst films, even though script, acting and direction leave nothing to be desired. However, like many of Forst’s more important films this one not only provides great entertainment, but is also a thorough examination of the relation of fiction/art and reality.

So, on a simple level, this is a very entertaining and witty story about a slightly arrogant film director (Axel von Ambesser) travelling on an ocean liner who is constantly pestered by young girls who devise all sorts of schemes to attract his attention because they want to get a role in a film. He is equally pestered by his best friend, a scriptwriter (Richard Romanowsky, who reminds me a little of Edward Everett Horton in this role), who thinks he could use these going-ons as the basis for a new screenplay. But then the film director overhears the talk of a young woman (Marte Harell, magnificent as always) with a police officer who wants to arrest her for having killed her husband. And soon the director finds himself in love with the lady and wants to help her to get away from the police. All very well, but it slowly transpires that some things may be quite a bit different from what they appear to be…

Filmportal.de calls the film ‘remarkably self-reflexive’, and that is actually putting things mildly. The more the story develops, we find ourselves on dizzyingly different levels of ‘fictions’ and maskerades being played. And if one knows that the role of the film director was originally to be played by Forst himself, then even Margot Hielscher’s singing of “Bel Ami” early in the film gets a meaning that goes far beyond a simple attempt at cashing-in again on Forst’s greatest success as a singer and director. Saying more would mean very serious spoilers, but once you’ve watched the film, you may want to read the analysis of the film in Francesco Bono’s book on Forst to sort things out a bit:
link

https://nitro.download/view/335628C7D3A84A8/1943_-_Frauen_sind_keine_Engel.mkv
http://www.nitroflare.com/view/5920E60815DB121/Frauen_sind_keine_Engel_%28Willi_Forst_1943%29.srt

Language:German
Subtitles:English

The post Willi Forst – Frauen sind keine Engel (1943) first appeared on Cinema of the World.