5.9/10
Senior Film Conservator

A definitive 5.9/10 rating for a film that redefined the boundaries of cult cinema. Invitation to the Waltz remains a cornerstone of transgressive art.
If you have a soft spot for 1930s costume dramas that don't take themselves too seriously, you’ll probably get a kick out of this. It’s light, breezy, and moves faster than you’d expect from a film about the Napoleonic era. If you’re looking for historical accuracy or high-stakes grit, stay far away. This is pure fluff, and honestly, that’s fine.
Lilian Harvey is the whole show here. She plays the ballerina with this frantic, wide-eyed energy that makes the whole political spying plot feel like a secondary concern. Which it is. The spy stuff is just an excuse to get her into different outfits and have her run around Europe.
There’s a moment near the middle where she’s supposed to be seducing the Duke, but the chemistry is so awkward it’s almost endearing. It’s not that the actors are bad; it’s just that they seem more interested in hitting their marks for the dance numbers than actually flirting.
I found myself thinking about The Mark of Cain while watching the more dramatic sequences. The contrast is jarring. Where that film is heavy and intense, this one is basically a music video from 1935. It refuses to stay in one lane.
The pacing is a total mess, but in a way that works. Just when you get bored of the treaty talk, someone starts dancing or a carriage ride goes wrong. It’s disjointed. It’s messy. It’s kind of like watching a stage play that got lost on the way to the theater.
I wouldn't call this essential viewing, but it’s a fun curiosity if you’re bored on a Sunday. Just don't go looking for the next Reaching for the Moon. This is a much smaller, weirder creature.