Cult Review
Senior Film Conservator

Look, if you’re looking for a brisk, modern thriller, keep scrolling. This is for the people who spend their weekends digging through dusty archives or obsessing over 1930s European melodramas. If you hate slow pacing or characters who act like they’re perpetually auditioning for a statue contest, you’re probably gonna loathe this.
The whole thing feels like it’s held together by stage makeup and sheer willpower. Germana Paolieri is doing a lot of heavy lifting here, and there’s a moment in the second act where she stares at a mirror for way too long. I think the camera guy might have just fallen asleep, or maybe he really wanted us to admire the wallpaper.
It reminds me a bit of the theatricality you see in Wien, wie es weint und lacht, but with a lot more yelling. There’s no subtlety, none at all. People don’t talk; they declaim. They walk into a room like they’re announcing the end of the world just because they want a glass of water.
I found myself wondering if anyone in the cast actually liked each other. The tension feels real, even if the plot is paper-thin. It’s got that strange, stiff energy that makes me miss the weird experimental stuff like Chaz Chase: 'the Unique Comedian'. At least that one knew it was a bit of a circus.
There’s a scene involving a scarf that goes on for about three minutes too long. You can literally watch the light change outside the window. It’s these little, pointless imperfections that made me pay attention. It’s messy. I like that.
Anyway, don’t expect a masterpiece. Just expect a lot of drama, some questionable lighting, and a whole lot of singing. 🎭
Year
1933
IMDb Rating
—

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