Cult Review
Senior Film Conservator
Honestly, only if you are deep into the weeds of 1935 German cinema or you have a weirdly specific obsession with period ballroom dancing. If you want a tight, punchy narrative, look elsewhere. People who hate slow-burn fluff that feels like it’s just killing time until the credits roll will probably find this one pretty unbearable.
The film opens with all the expected grandeur of the era, but it loses steam about twenty minutes in. You get a lot of people in stiff collars looking meaningful at each other. Sometimes the silence is meant to be heavy, but it mostly just feels like the director forgot to yell 'cut' on time.
Paul Hörbiger is doing his best here. He has this way of looking perpetually confused, which honestly fits the chaotic script pretty well. It’s not quite as sharp as his work in Deception, but he carries the weight when the plot starts to sag under its own politeness.
There's a weird rhythm to the dialogue. Characters stop mid-sentence to stare at a vase or a window, and the camera lingers on them way too long. It’s almost funny, like the editor was trying to stretch the runtime by five minutes just to meet a contract quota.
It’s not a bad movie, really. It’s just... beige. It has the same energy as a waiting room where the magazines are all from five years ago. Compared to something like Sadie Thompson, which at least has some grit under its fingernails, this feels like it was filmed inside a velvet-lined box.
The ending lands with a thud. It tries to tie everything together with a big emotional swell, but I was already busy wondering if I left the stove on. You can feel the movie trying to convince you that these people are in love, but they mostly just look like they’re waiting for the tram.
Anyway, watch it if you must. Just don't expect it to change your life or anything. 🤷♂️

Year
1935
IMDb Rating
—

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Deciphering the legacy of transgressive cult cinema.
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