Customer Reviews

Munchhausen [VHS]

5 star:		(8)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

For years I have been familiar with the dog-eared 1978 reissue version of Munchhausen,apparently pieced together from different 16mm prints, from annual showings at Harvard's Carpenter Center, but this new DVD is a revelation.It almost looks new. The color is clear instead of blotchy, the image is clean instead of liney, and scenes that I had read about but not seen are now back in the film.The '78 edit had some crude jump cuts, which are smoothed over and repaired in this version,taken from an original negative that was perhaps only found some time after the previous restoration had been completed.The picture quality is amazing,the reds particularly vivid.Thanks to the F.W. Murnau foundation we can finally see what Munchhausen looked like in 1943, or at least a close approxamation.Contrary to reports, Munchhausen HAS been released on video in the U.S. previously, in a disappointing transfer [probably a 16mm print copied through a film chain]by an outfit called 'Video City'in the early 80's.But a few things about Kino's liner notes:Erich Kastner was a banned author, but he was not Jewish.Kino stresses that Munchhausen was not classified 'politically valuable'but that didn't matter very much:many films otherwise approved were not, and Munchhausen played right up to the German surrender.The bonus animation is also quite impressive, also with brilliantly preserved color.Other bonus clips will give you a glimpse of Nazi-era[and after]diva Marika Rokk, who just died at 90.

I saw this movie when I was about 11 or 12 years old, in occupied Belgium.I only saw it once but I was so enthralled with the story, images remained in my mind for over 60 years. Hans Albers was perfect..those eyes. I remember his flight riding a canon ball but especially the scene where he shot the two remaining ties of the air balloon simultaneously. WOW! I have been looking for this movie for years, but it was never available, until now. I must say that I enjoyed it as much as when I was a little girl. The special effects are absolutely awesome. Amazing what one can achieve without "computer generated". The costumes are fabulous, and so is the scenery.

I never knew it was Joseph Goebbels pet project, and he doesn't bother me. It is not about the Nazi war machine. The movie is a fantasy from a children's book. The only thing I noticed this time was the costumes and head gear for the sultan/emir etc were totally ridiculous, made everyone look grotesque (which was probably done just for the reason that they were : Untermenschen), and the village fair in St.Petersburg was full of drunken Russians, kicking women, tearing the place apart. So much for Nazi subtlety.

For a movie salvaged from almost total destruction, they did a fantastic job, it took a long time , but it's worth it. Enjoy the storyline, the actors, the costumes, the glorious Agfacolour, and Hans Albers' mesmerizing performance. Take the time to watch the introduction by the Director of the Murnau Foundation and all the other extras. The german dialogue was a little hard to follow, but there are subtitles.

Some of you might remember German author Erich Kaestner, famous for his lyrics, a novel "Fabian" and his childrens books: Emil and the detectives, Das doppelte Lottchen ... He wrote under pseudonym Bertold Buerger ("Bert Citizen") the script and all those wonderful funny dialogues. Look out for the famous Wagnerian operasinger Leo Slezak and all the other UFA-celebreties. It's a true all star vehicle in wonderful Agfa-colour. Except Russia all szenes were filmed on location: Venice and Canale Grande - Wow!

If you're a fan of fantasy, old movies, or a history buff, I highly recommend this film. Though produced during the later days of the Nazi empire as a showcase film to rival Technicolor, the movie contains no politics. Given the times, the special effects were amazing. The DVD is presented in its native German, with English subtitles.

Hans Albers is excellent as the Baron, who is both sophisticated and philosophical, traveling through history to a bittersweet end.

There is some minor nudity (topless) so I'd probably not recommend this for kids under 15.

The DVD contains some very interesting extras that discuss the Ufa Studio, Agfa Color, history of the Munchhausen story, production during WW II, and technical restoration of the movie.

MADE when 'You know Who' ran the country [sounds like a line from 'Wicked...'] this beautifully restored little gem of a fantasy is FINALLY forgiven and available on an extraordinary DVD.

SO many fascinating extras are included not about only this vehicles resporation but others too - thanks to UFA and the WF MAURAU Institute.

There's even quite a good cartoon - 'Winter Journey' preceding the feature.

MORE OR LESS A FAUSTIAN TALE, we follow the Baron through the ages, from Cathy [Catherine] the Great ~ Brigitte Horney {stunning - literal}, to the topless - for 1943 - harem girls, etc - all very very tasteful.

I especially find the opening reels MASTERFUL - the deception about time ....

SAD history about this flic - the anonymous Jewish artists who also worked and contributed to this gem ... and here it is. The costumes are quite memorable, as is the superb score and color by AGFA.

There's also a great deal of melahcholy about the movie -or story - as immortality strikes us - we watch the loved ones fade away.

PLOTLINE [carbon of the Gilliam version - but more pathos here].

HANS ALBERTS [especially those pale green eyes] ignite the screen!

A MUST FOR THE SERIOUS AND NOT TOO SERIOUS COLLECTOR .... and really fit for all.

BRAVO KINO - keep 'em coming!

Is it possible to love a gorgeous painting if you know the painter is a drunk, a thief, a scoundrel and a hypocrite? I'd say yes. We all have many faults we can learn to live with. But what if you know the painter sexually abuses children, tortures small animals or is addicted to publicly humiliating the old and the disabled. I could still appreciate the power and the skill behind the painting, but I wouldn't want it hanging in my home. I couldn't look at it without being reminded of the kind of person who produced it.

I feel that way toward Munchhausen, a gorgeous, witty and, at times, ironic fantasy...which was commissioned by Josef Goebbels in late 1941, filmed in 1942 and released in early 1943. No matter how excellent the film is -- and it is in many ways an excellent film -- for me it has the smell of the death camps about it. Goebbels wanted a huge extravaganza of a film for two reasons. Ostensibly, to celebrate the 25th anniversary of UFI, the famous German film company which by then was under the control of Goebbels' Ministry of Propaganda. Goebbels really wanted a major full-color film which would demonstrate the glories of German -- read Nazi -- culture and technical artistry, one which would surpass films like The Thief of Bagdad and The Wizard of Oz. He settled on the story of Baron Munchhausen, gave the producers an unlimited budget, approved the hiring of a gifted screenwriter whose works he had banned and whose books he had burned, and saw to it that leading actors and actresses took part. Goebbels was given a hit by the moviemakers. When it was released he had already made his famous speech about all-out war now being essential. Bombing attacks on Germany were happening with regularity. The Wehrmacht was being ground into hamburger at the outskirts of Stalingrad. Germans flocked to this make-believe world of Munchhausen where they could forget what was beginning to dawn on them, that terrible times could be right ahead.

Baron Hieronymous Munchhausen might have been a great adventurer, might have been an avid and gracious womanizer, but was certainly a master teller of tales. At a sumptuous party given at his estate, the current Baron Munchhausen encounters a bickering young couple and agrees to tell them the story of his famous ancestor. And what a tale it is, told with wit and philosophical irony, with luscious princesses and topless harem girls, of exotic costumes and magical encounters...and all in Agfacolor, as vibrant as Technicolor. Munchhausen beds Catherine the Great (he calls her Cathy), befriends the sinister magician Cagliostro, flies on a cannonball into the palace of the great Caliph and meets Casanova in Venice, where he fights a flashing duel, reducing his opponent to standing in his underwear amidst the tatters of his clothes, and all without inflicting a scratch. He takes a balloon to the moon, where time is broken, where humans will age a year for every moon day, where the moon people can take off their heads and leave them to entertain guests. He finds horns whose notes freeze in the Russian cold and blare out when they melt, a piano that sounds like a violin, a rifle that can shoot a bullet a hundred miles, a runner who can run from Constantinople to Vienna and back in 60 minutes, a ring that gives invisibility for an hour and a wish fulfilled "to stay as young as I am now, until I myself decide to grow old."

The movie features a wonderful performance by Hans Albers as Munchhausen. Albers somewhat resembles George C. Scott, but with blond hair and green eyes. He can command a scene the same way Scott could. The dialogue is witty and thoughtful, and well translated for the subtitles. "Where other women have a heart," Munchhausen says of an actress, "she has only cleavage." "I no longer enjoy charging through the world," an aging Casanova tells Munchhausen. "The eyes grow sated, but the heart remains empty. Life is short and death chases us off before the game is over."

We started Munchhausen's story by having him tell the tale of his ancestor to a young couple, while his wife sits with him. According to his story, his ancestor was given immortality as long as he wanted it. But is the Munchhausen who is telling the story really the Munchhausen of the adventures? Does our story-teller finally realize the truth of Casanova's words? I wouldn't put it past him to renounce immortality so that he does not stay young while the woman he has come to love grows old, and after he and his wife see the young couple off, to walk hand and hand with her back to their mansion, to grow old happily together. Is this just a story, too?

This is a movie I enjoyed watching, and will enjoy watching again. It is extraordinarily sumptuous. The scenes in Venice were shot there, with beautiful views of the Grand Canal. The music score is, there is no better word, lovely. The movie is one great big adventure after another. There is no obvious Nazi propaganda that I could detect. Unfortunately, I still can't forget the man who wanted the movie made or the wretched lives he and his fellow thugs ensured for millions of people.

The DVD transfer looks very good. The movie has been painstakingly restored. There are several extras. The most noteworthy is an interview with the director of the Murnau Foundation, who tells us about the making of the movie and the restoration efforts.

Made in Germany, circa 1943 "Munchausen" starring Hans Albers is a superb interpretation of Raspe's stories, based on a German noble of the eighteenth century who took great pleasure in telling tall tales.

And here we have several layers. On the surface, this is a movie that made great use of the technology of the day and the locations available to Germans at the height of World War II. Beautiful costumes and magnificent settings (especially Venice) support lively action, very compentent acting, and a great story. The story is that of Hieronymous Baron Munchausen, an adventurer, rogue, officer in the German and Russian armies, lover, and all around charming scoundrel. He falls into the bed of Catherine the Great, Tsarina of Russia, flies on a cannon ball, travels to the moon, finds himself in the serigalio of the Sultan of Turkey, and romances his way across Europe.

The truth of Freiherr Munchausen is only slightly less exciting. He was a Prussian noble and really served in the Russian and German armies, travelled all over Europe, and generally lived life to its fullest. Certainly the kind of guy you'd want at a party, but not the sort of guy you'd trust around your wife or daughter. And telling the sort of story that inspired this movie was a great pleasure for him.

And while made in Germany in 1943, there is no obvious propaganda. I didn't observe any, and it certainly didn't impact the plot. It is important to note that the lead actor's lover fled German for Switzerland in the 1930's, and they were reunited after the war. Albers is unlikely to have had any loyalty to the regime at the time of production.

A quick note; if you are sensitive to displays of the female form or romantic inuendo, this one may not be for you. To my sensibilities, the casual attire and discussions of intimate adventure were tastefully handled.

A great movie from some of the best classical stories.

E.M. Van Court

I love movies and historical movies; I could not wait to see this restored AGFA color production and compare with Hollywood and British fantasy movies of the time. Kino has done an excellent job in the restoration process - what a movie considering where it was made, when it was made, and what was going on at the time. I imagine all the actors wished they could stay in this fantasy land - can one imagine what their real world was like in the knowledge that they were loosing the war and their world was collapsing around them; the awful things that were happening at the hands of their Fuhrer? The color is different, like many state as more "pastel" than Technicolor process. It looks great, and the story is engaging. Other movies of this period highly suggested are Titanic, The Great King, and Kolberg. Again, no politics here, just movies of interest if you like history and a look into Germany during the saddest time in it's history.

This was meant to be a spectacular offering celebrating the 25th anniversary of the great UFA German film studios. Parts of it are impressive - extravagant set pieces that could match anything that Hollywood was doing at the time. Parts of it drag. It is definitely worth seeing if you love historically interesting films or the UFA product. There is nothing in it even hinting at the vast Nazi machinery backing it (Joseph Goebbels had his hand in most of the production). It is a light, well budgeted, sometimes amusing fantasy. The script has its moments but doesn't sustain interest for the length of the film. Best sections: the dinner party, Venice, the trip to the moon, the early agfacolor color film technique (which was quite good). One of the best WWII UFA films. Comes with a bundel of extras: introduction, restoration examples, drawings, etc.

Entertaining spectacle produced under the Nazi regime, but seemingly
without obviously creepy subtexts.

Occasionally boring, but often charming, bawdy (lots of bare breasts
and sexual banter - in 1943!), and funny, with some really magical
effects that still hold up,and a touching ending.

The acting is a mixed bag, and some sequences drag, but this is
generally fun, if not (for me) the great film some critics claim.