Traum von Schönbrunn: A Royal Escape or Just a Nap?

Is it worth your time?

If you like your movies smelling like old perfume and lace, you’ll probably find something to love here. It’s for the folks who want a gentle, slightly dizzying romance that doesn't ask you to think too hard about the politics of the monarchy. If you’re looking for grit or pacing that doesn’t meander like a lost tourist, you’re going to be bored to tears within twenty minutes.

Cinematic perspective: Exploring the visual vocabulary of Traum von Schönbrunn (1932) through its definitive frames.

There’s a real delicate energy to this film. Princess Christine is supposed to be the center of attention at Schönbrunn, but she’s just so clearly over it. Watching her duck out of her duties to wander Vienna feels like watching a kid skip school. It’s relatable, even if you aren't a royal.

Cinematic perspective: Exploring the visual vocabulary of Traum von Schönbrunn (1932) through its definitive frames.

The carriage ride scene is where the whole thing leans into its own charm. Sharing that cramped space with a stranger is such a classic trope, but it works because of how quietly they play it. No big dramatic outbursts. Just two people trying not to look like they’re having the best time of their lives.

Cinematic perspective: Exploring the visual vocabulary of Traum von Schönbrunn (1932) through its definitive frames.

I couldn't help but think of La route est belle while watching the scenery roll by. It shares that same breezy, don’t-worry-about-tomorrow kind of spirit. Not that they’re the same movie, but the mood is definitely a cousin.

Cinematic perspective: Exploring the visual vocabulary of Traum von Schönbrunn (1932) through its definitive frames.

There’s this one moment—I think it’s near the midpoint—where a background extra is just holding a tray of drinks and looking absolutely terrified of the camera. It’s completely distracting if you’re looking for it. Once I saw him, I couldn't stop checking his face every time he popped back into the frame. Why is he so nervous? Did he break a glass earlier? 🥂

The pacing is… well, it’s a choice. It moves at the speed of a gentle stroll through a park. Sometimes it’s nice. Sometimes I found myself checking my phone to see if the Wi-Fi was still working. It’s not a movie you watch for the plot twists, that’s for sure.

Mártha Eggerth is doing a lot of heavy lifting here. She carries that royal exhaustion really well. It’s all in the eyes. She looks like she’d trade every crown in the palace for a decent cup of coffee and a quiet afternoon.

It’s not perfect. It’s actually quite messy if you look at how the subplots just sort of evaporate into thin air by the end. But does that matter? Probably not. It’s a Traum, a dream. And dreams don’t really need to make sense to be nice while you're in them.

Random Notes:

• The costumes are ridiculously fancy. Like, almost too fancy for a carriage ride.
• The lighting in the Vienna scenes makes everything look like it was dipped in honey.
• I really wanted to know more about the carriage driver, but he just vanishes!
• Some of the dialogue feels like it was written on a napkin during lunch.