Die Fledermaus

Another evaluation mentions a lack of sensuality in this adaptation of "Die Fledermaus", but sensuality is not the real trait of the operetta itself. Rather, it's playful frivolity, and this spirit was hit perfectly by the movie. This also happened to be the mood most appreciated by the people in Germany's darkest years after the war. Yet even without those accentuating circumstances, the movie was great, with Strauss' music, magnificent costumes, and - for that time - glorious color. One scene was often remarked upon, where Rosalinde, as part of her disguise, changes her hair from blond to red - on camera. In general, the movie played out more of the storyline than the original presents, which actually helped to make it clearer, and furthermore lent it an air of authenticity.

This movie, finished under the threat of the approaching Soviet Army, constitutes probably the high point of the old, well-oiled German film industry. When any German, who was of movie-going age in 1946, is asked thirty of even fifty years later, which film he remembers best from those years, "Die Fledermaus" is certain to come up. And thanks to the missing sensuality, youngsters like me under the age of eighteen were fortunately permitted to see it.