Der Zarewitsch (1933) Review: A Royal Romance with Serious Pipes 🎤

Okay, so Der Zarewitsch from 1933. If you're into old-school operetta, soaring voices, and a good dose of romantic drama, you'll probably have a pretty good time with this one. It's definitely not for folks who need fast-paced action or modern sensibilities; you might find it a bit slow or even, dare I say, a little dated in its emotional beats. But if you appreciate a classic European musical with some real vocal talent, absolutely give it a look. 🎶

The movie starts with all this pomp and circumstance. You know, royal stuff. The Zarewitsch, Prince Alexei (Hans Söhnker), he's just *not* into it. He'd rather be... well, not being a prince, I guess.

Then Mártha Eggerth shows up as Sonya, the dancer. And boy, can she sing. Her voice just fills the screen. It's powerful, but also really sweet sometimes.

There's this one scene, early on, where they first meet. It's a bit contrived, sure, but the way Eggerth looks at him, you totally buy into the whole 'love at first sight' thing. Söhnker plays it with this sort of weary charm, like he's almost surprised by himself.

The songs are the real draw here. Some of them are just *gorgeous*. You can tell why this operetta was so popular. The melodies just stick with you.

But also, some parts drag. Like, there's a good chunk where not a whole lot happens besides a lot of longing looks and dramatic sighs. The pacing is definitely from another era.

The sets, for 1933, are pretty elaborate. Especially the palace stuff. But then they go to this... *more humble* setting, and it almost feels like a different film. A smaller, more intimate one.

There's a scene where Alexei is just pacing, obviously torn. The camera stays on him for what feels like a minute. You can almost feel the weight of his royal duty pressing down. It's effective, but also, like, 'get on with it, mate!'

I mean, the Prince is supposed to be this stoic figure, right? But Söhnker gives him these little moments of vulnerability. Like when he tries to be all casual and fails spectacularly. It’s endearing.

Mártha Eggerth's costumes as Sonya are often simpler than the court's finery, which really helps emphasize her 'outsider' status. It's a nice visual touch, not overly stated.

Did anyone else notice the sheer number of servants bustling around in the background? It’s like a whole mini-ecosystem back there. They're always tidying or carrying things. Kinda fascinating how busy they are even when nothing critical is happening.

The whole 'love forbidden by station' thing is *such* a classic trope. This movie leans into it hard. You know what's coming, but you still get swept up in it a little bit. That's the power of good music, I guess.

And the ending? It's exactly what you'd expect from this kind of story. Bittersweet, maybe a little too neat, but you leave feeling like you've been on a proper journey. A very *sung* journey.

Honestly, it's a pleasant watch. Don't go in expecting anything groundbreaking. Just sit back, enjoy the incredible voices, and let yourself get lost in a bit of old-fashioned movie magic. It's an escape, pure and simple. 🍿

Just a few thoughts I jotted down:

• That one background extra almost tripped over the carpet. Classic.
• The music is so catchy, I found myself humming later.
• Mártha Eggerth's high notes are no joke. Seriously impressive.
• The fake snow looked... well, like fake snow. Charmingly so for 1933.
• There's a very dramatic close-up of a letter being read. Very dramatic.