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6.9/10
Senior Film Conservator
A definitive 6.9/10 rating for a film that redefined the boundaries of cult cinema. I Do Not Want to Know Who You Are remains a cornerstone of transgressive art.
If you have a soft spot for old-school, lighthearted dramas where everyone is dressed to the nines despite being broke, this is for you. It’s a bit of a slow burn, but it has that specific 1930s elegance that’s hard to replicate. If you need explosions or high-stakes action, move along—you’ll be bored to tears in the first ten minutes.
The premise is simple enough. Our hero is a count, which means he’s basically required to be handsome but totally broke. Watching him try to maintain his dignity while working as a chauffeur is the whole point. It reminded me a bit of the social maneuvering you see in Too Many Husbands, though with a lot less shouting and a lot more polite staring.
Gustav Fröhlich is doing a lot of heavy lifting here with just his eyebrows. He’s got that look of constant, mild confusion that I think is supposed to be 'aristocratic charm.' Sometimes he stares at the camera for a second too long, and you can almost hear him wondering if he left the stove on back at the estate.
Adele Sandrock is a riot. She shows up and suddenly the screen feels a bit more crowded, but in a good way. She’s got this way of looking at the other characters that says, "I know exactly what you’re hiding, and I’m going to make you sweat for it." It’s the best part of the second act, honestly.
The pacing is a little bit uneven, to be fair. There are stretches where people are just walking through hallways or sitting in cars, and the dialogue feels like it’s padding time before the next reveal. It’s not quite as snappy as Don't Blame the Stork, but it gets the job done.
One detail I couldn't get over: the cars. They’re these massive, polished metal beasts that look like they’d tip over if you turned the wheel too hard. There’s a scene where he’s cleaning the hood, and he spends way too long buffing a spot that was already spotless. It felt very human, like he was trying to look busy just to avoid an awkward conversation with a passenger. 🚗
Is it a masterpiece? Hardly. It’s more like a comfortable chair that’s lost a bit of its stuffing. You know exactly where the story is going from the opening scene, but the ride isn't bad. It doesn't have the grit of The Flame of Life, but it doesn't try to, either.
It’s a light watch for a rainy afternoon. Just don't expect it to change your life. Sometimes, that’s perfectly fine. ☕
IMDb —
1915
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