The Angel with the Trumpet

Lovely acting but silly storyline of aristocrat young woman marrying old man for appearances. They go through the usual Nazi holocaust stuff. Nice Straussy music and scene or two with cymbaloms playing!

You could say "The Angel with the Trumpet" is the story of a house or, at least, the story of a family and it was a very strange picture to have come out of Britain at the time until you realise it was a remake of an Austrian film made 2 years earlier. It begins at the end of the 19th century and follows one particular family living in the same house in Vienna up to the rise of Nazism and it's populated by a cast of well-known British thespians being very British while pretending they're Austrian. It was directed by the actor Anthony Bushell who also appears and it features early performances from a couple of actual Austrian actors, namely Maria Schell and Oskar Werner.

The star of the picture is Eileen Herlie, who basically links the stories through the decades. She's really quite superb but the film is stiffer than a shop full of corsets and virtually everyone else miscast. It's certainly beautifully designed and photographed and Bushell's direction is both imaginative and subtle but who in hell did they imagine would pay to see it. This kind of yarn went out with the Ark or at least with D. W. Griffith. A curio that is virtually unknown today, (the original isn't known at all), but one that, in its very odd way, may be actually worth rediscovering.

Henrietta Stein is a young woman on the back side of twenty having a discreet affair with Rudolf, Crown Prince of Austria in the 1880's. Their relationship is little more than a friendship to Rudolf although Henrietta is in love. 31-year-old Rudolf in fact openly confesses his love for a seventeen year old to Henrietta. Realizing their is no future with Rudolf, Henrietta accepts the proposal of Alt, a prosperous piano manufacturer. Rudolf commits suicide on the night of the wedding although his actions appear to be unrelated to the marriage.

Henrietta has a comfortable, settled life as Mrs. Alt but by the turn of the new century has become bored and is neglected by her husband. A Baron friend of Rudolf's whisks her away to a week of public if chaste romance which results in a duel fought between the Baron and Alt. The film then follows the family through two World Wars and a changing Austria.

This ambitious British film seems to be two movies tacked together, the first half seems to be a fictionalized period biopic along the lines of The Great Waltz but with the dawn of World War I for the section half becomes a Cavalcadesque family saga. The cast is very good, particularly Eileen Herlie although she absurdly ages in a period of six years (still having her youthful beauty in 1914 but becoming an old lady by 1920). This film has likely been seen by more American audiences in the past decade than in it's original release back in 1950 due to it's availability online and on public domain DVD releases. The movie looks a bit more of an epic than it really is with the lavish Alt home and the decades sweeping story but sets are somewhat limited and one can't help noting the cast is rather small for a film covering such a long period. This mix of history with fiction (the movie suggests Rudolf's suicide was due to his frustrations with his father and their differences on running the country) and undeveloped plot suggestions (there's a very light hint that Henrietta is pregnant with Rudolf's child at the time of her marriage to Alt but that story is never confirmed or acknowledged in the film) doesn't always work but it holds one's interest until the last reel if not quite succeeding in making one care about the characters.

As an adolescent,I first saw this film on our black-and-white TV. I was deeply moved by it then, so much so that over fifty years later I still remember some scenes vividly. First there is the luminous Maria Schell, who dominates the post WWII story. She is a gifted, but impoverished, pianist who marries the scion of the great piano-manufacturing family that is the heart of the story. If I remember correctly, the family is part Jewish and had paid dearly under Nazi persecution. One son in the preceding generation even falls under the spell of the Nazis in the thirties and forties.

The saga begins with the Jewish founder of the firm and his aristocratic. non-Jewish wife. This marriage has its own problems. I will not spoil it by recounting several touching scenes, for the wife is close to the Hapsburg court and gets intimately involved with the decline of that unhappy family. The drama begins slowly, but builds momentum as the family saga continues.

A film worth seeing. It is riveting and encapsulates Austrian history from pre WWI to post WWII. Unfortunately it is not available in any format, anywhere in the English-speaking market. The Ernst Lothar novel is available from used book dealers and (perhaps) in some libraries. Pity!

Based on a very long and dense 1942 novel by Ernst Lothar, 'Der Engel mit der Posaune' was originally filmed in Austria in 1948 by Karl Hartl, who is credited as the producer on this somewhat disjointed English-language remake.

Although most of the cast are now British, crowd scenes and exteriors from the German-language original have visibly been recycled, as well as Willi Schmidt-Gentner's noisy score, while extremely youthful Maria Schell and Oskar Werner reprise their parts in smaller roles (along with Anton Edthofer, who briefly reappears from the original, presumably dubbed, as Franz Josef).

Eileen Herlie brings a strong presence to this rare big screen lead as half-Jewish Henrietta Stein, who we are expected to believe it was over her rather than Marie Vetsera that Crown Prince Rudolf shot himself at Mayerling in 1889. Already thirty when the film was made and looking it, she thereafter ages extremely unconvincingly over the next five decades, although in a better film her performance would doubtless have been more impressive.