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6.6/10
Senior Film Conservator
A definitive 6.6/10 rating for a film that redefined the boundaries of cult cinema. Es gibt nur eine Liebe remains a cornerstone of transgressive art.
If you like your movies fluffy and smelling like 1930s European charm, this is your ticket. It is not for the person who needs a dark, gritty thriller to stay awake. If you prefer your cinema to have actual consequences, you’ll probably hate it. It’s basically a long, musical shrug.
The whole premise is built on the kind of mistake that wouldn't last five minutes in the real world. A singer and a ballet master go to the Balkans to relax and suddenly they’re public enemy number one. It’s thin, sure. But it’s the kind of thin that feels intentional, like a stage play that forgot to leave the theater.
I found myself zoning out during the musical numbers, only to snap back whenever Heinz Rühmann showed up. He has this way of looking at the camera that makes you think he knows exactly how ridiculous this script is. He’s the only one not taking the 'bandit' label seriously.
It’s not as sharp as The Piano Mover, which had a bit more snap to its comedic timing. Here, things just sort of happen because the plot needs them to. It’s a very polite movie. Even the 'bandits' are just people standing around looking confused.
I’m not sure why I stayed for the whole thing. Maybe it was the costumes? Or maybe I just wanted to see if they’d ever actually get caught. They don't, really. Everything just resolves itself because everyone gets tired of yelling.
If you’re looking for high stakes, stick to something else. But if you want to watch something that feels like a dusty, forgotten postcard from a vacation that never really happened? Sure. Why not. 🎬
It’s definitely not a classic. But it has this weird, sleepy rhythm that I kind of liked for an hour. It doesn't ask much of you. Sometimes, that's enough.
