The Adventures of Baron Munchausen

Someone should do a book on the making of this one. It might represent the best blindsiding of the Nazi regime by artists who had scores to settle. I'm always amazed and grateful it made it past the censor. First, the writer, Erich Kastner, was blacklisted, a Jew, and had his books burned by the Nazis. But they were SO desperate for a good writer they got him on board for this. You sense they wanted world distribution....even down to the product placement shot of a Munchausen children's book Albers is holding before the flashback. Hans Albers, the Brad Pitt of his day, was forced to give up his Jewish girlfriend, Hansi Berg, and work for the Nazis. He sent her money in London all through WWII. She made it out in '38 escaping with her Dad. Dad (Eugen Berg) was not as lucky. He got caught and sent to the camps. He died there in '44. Kastner's script pokes fun of ALL authority, and embraces life itself, and urges the viewer to wake up and take it all in before it's too late; the Baron turns down power to enjoy life, and always has time for a good meal or a hot date. The photography is excellent, the KINO restoration the one to get..Carnival in Venice is wonderful to see and you find bits of humor and wit and set decoration that survived to the 80's version..but there is a haunting, melancholy air to this version, even when everyone is enjoying themselves...the writer knows too quickly everything can just GO and you're best to enjoy what you can while you can. I sometimes see a sad, long look in Hans Albers eyes...is he wondering if he would ever see his gal again? Does he KNOW where her Dad is? What does he THINK of the Nazis?? As it was, Kastner lived to 1974, the richest of the lot, when Disney made his two most famous books (Parent Trap, Emil and the Detectives) into movies. He is the only cast member who's name is associated with a Lindsay Lohan movie. Hansi came back to Hans and they lived together until Albers' death in 1960. She died in 1975.

In film history class we were usually shown a silent era German movie followed by Triumph of the Will. This film ought to be included. It is surprising on a few fronts. One is the high production values. Not a cheap movie at all. Even when compared to a US technicolor film of the period, this had a few advantages like real European locations, access to the Venice canals (a movie in colour first?). It could also be the first colour film to show a space-science fiction sequence. The effects were impressive for the time and its clear that the Gilliam version borrowed some fx ideas from this. The often heard assumption that Germany's best film technicians all fled or were killed simply isn't true judging by this. Very colourful film. The language barrier prevented me from judging the comic timing very well but looked as though the performances were on target. As others have pointed out the nudity and sexual talk is rather jarring to see when you think of the US censorship board of the period. Probably the two biggest surprises were the black people(!) and the not so unsubtle digs at the regime. The villain with the moustache talking about invading Poland really came as a surprise. This flies in the face of what I often heard-that Germans were brainwashed by Hitler-clearly there was some dissent judging from this. And it also counters the idea that was put froward in the last 10 years that in war time one doesn't criticize the sitting president. They did in Nazi Germany!

You've got to hand it to that Josef Goebbels. When the little club footed maniac wasn't busy trying to get into the pants of every starlet of the German cinema, his UFA Studios could turn out some good work. Such is the case of the lavish spectacle Munchhausen. The color cinematography and special effects definitely equal the quality of anything Hollywood could do.

The Munchhausen Stories in German culture are akin to Jonathan Swift's Gulliver's Travels. The author Rudolf Erich Raspe was trying for Swift like satire of the political events of his time. In time though they became beloved for their face value alone. In fact the protagonist became a synonym, Munchhausen's syndrome is a diagnosis for one who tells exaggerated stories or outright lies the better to ingratiate themselves with another individual or a group.

In fact at the same time that German romantic cinema star Hans Albers was doing Munchhausen over in Germany, a different kind of Munchhausen was popular in America. Jack Pearl, a former vaudevillian, had a radio series based on the Munchhausen character and his famous line to those who questioned the authenticity of his stories was "Vas you dere Charlie". Quite popular back in the day.

The story of the fabled Munchhausen is told in flashback during a party in modern Germany by the current Baron Munchhausen . By the way, another reviewer said that it would be Germany in the Thirties before World War II started. Not necessarily because the Nazi regime was notorious for not asking the kind of sacrifices demanded of its civil population until late in the war. Such a lavish type party was definitely in keeping with the regime's culture of the time.

Though Goebbels kept it light as he did most of UFA's product except those that were outright propaganda, they did get their shots in. During the part of the film concerning Munchhausen's visit to Imperial Russia, the German background of Catherine the Great played by a fetching Brigitte Horney is emphasized. Catherine was a name she took when she married the Czar, she was in fact Sophia of Anhalt-Zerbst. Also there is a scene when Pugachev, the peasant leader of a revolt in Siberia, is brought in caged like an animal and looking like something from Dr. Moreau's laboratory. Pugachev was later played by Van Heflin in the film Tempest in the next decade. The caricature was definitely in keeping with the Nazi ideas to depict Slavic people as some kind of subhumans, almost as bad as Jews.

Throughout the film as Munchhausen travels from St. Petersburg, to Istanbul, to Venice and even the moon, Albers's faithful sidekick is Herman Speelmans who is like Sancho Panza or even Gabby Hayes if you will. Speelmans does a fine job and dies on the moon in a beautifully played scene.

As the propaganda is kept to a minimum, Munchhausen has survived to be appreciated on its own merits which are considerable.

I first saw "Münchhausen" in my native Romania as a child during the war (I mean WWII) and the scene of the baron's landing on the moon and having a conversation with the head, lying on the ground, of a woman who left the rest of her body in her lunar home, made such a powerful impression on me that to this day I remember it in all its funny details. It was also the first movie in color I had ever seen; yes, those were the days when movies, as a rule, were in black and white.

Revisiting the movie now, as a euphemistically labeled "senior citizen," I was surprised that it holds up quite well. It amuses, it surprises, it is well acted, the dialog is clever, written after all by the famous novelist Erich Kästner under a pseudonym to cover up the fact that the Nazis saw themselves forced to employ him after burning his books.

There is something quite disturbing in hindsight about this movie. Why was it made? It was released in the year between the Battle of Stalingrad and the Allied Normandy Invasion the two events that were to seal Germany's fate. Was it an attempt to sustain both at home and abroad the far-fetched illusion that the war was going so well that all the German people cared about was laughing at the Baron Münchhausen's lies? Or was it an attempt at showing that Babelsberg could produce a grand spectacle just as well as Hollywood? And if a spectacle was being offered, why, in a country in which mass murder and deception were the order of the day, was even the hero to be a liar?

I am asking these questions because much in this movie is disturbing for reasons related to them. Take the Baron himself, played in this movie by Hans Albers, the greatest star, the Clark Gable of German movies in those years, yet by the time of this movie a man in his fifties pretending to be irresistible to females. It is as if MGM had cast an aging Adolphe Menjou as Rhett Butler in "Gone With the Wind." Now Albers is a fine actor, but to enjoy the movie you definitely have to suspend disbelief and pretend that the aging actor riding the cannonball is not bothered by arthritic pain.

The sets look more like cheap nouveau-riche furnishings and the costumes are cut from wartime stock. Ilse Werner, as Princess Isabella d'Este, is as beautiful as ever, and as Count Cagliostro we get to see Ferdinand Marian, the actor who just a few years earlier had disgraced himself by playing the lead in "Jud Süss," the most disgusting anti-Semitic propaganda film ever made, a fact that ultimately led Marian to alcoholism and a DUI death at war's end, considered a suicide by many.

Now, one can say, let's just watch the film for what it is, and not in its historic context. But then, Marian's acting of Cagliostro, a swindler, is crafted with the same mannerisms he used in creating the Jew Süss. In short, the undeniable artistic qualities of this movie are infected with the severe moral deficiencies of its makers, and this surprisingly renders the movie more interesting than it has any right of being. This is what disturbs me.

Baron Karl Friedrich Hieronymus von Munchhausen was a historic German nobleman, who became famous for throwing lavish parties at his home in Bodenwerder, where he told the most fantastic tall tales about his adventures. Now a well-known literary figure, Munchhausen has become a synonym for unbelievable and exciting adventures, that often involve tremendous exaggerations and even lies. It's not surprising that the wonderful stories of this man were eventually made into a movie, and interestingly enough it was the one that celebrated the 25 year anniversary of the German UFA film studios. Even more interesting though, is the fact that it was made in Nazi Germany during World War II, and yet doesn't contain one single anti-Semitic reference or propaganda for the cause of the National Socialist Party.

Extremely funny and hilariously entertaining, Josef von Baky created an unusual and highly original odyssey through Europe, of a man pursuing the exciting and adventurous. Those who have read the stories, know that some of Munchhausen's more famous deeds include his ride on the cannonball, tying his horse to the tip of a church tower and breaking into the ice, out of which he pulls himself by his own hairs. The first one mentioned can be found in the movie, as well as other humorous scenes, that perfectly fit into the Munchausen concept. Munchhausen lived at the end of the 18th century in Brunswick, but he always traveled around Europe with his loyal servant Christian Kuchenreuter. The story starts out with Munchhausen returning from one of his several trips to his residence in Bodenwerder, where all the jackets in his cabinet get rabies and Christian introduces a fascinating substance, that makes a man's beard grow in a matter of seconds. Hours later, Munchausen leaves for the court of Prince Anton Ulrich of Brunswick, who is commanded to leave for St. Petersburg, and would like Munchhausen to accompany him. On their way to Russia, Munchhausen and Christian encounter the dark Count Cagliostro, who is wanted all over Europe for performing notorious witchcraft. He plainly tells Munchhausen of his intentions to become count of the Courland, and asks Munchhausen to assist him, which he denies, by telling him that he has absolutely no intention of reigning. In St. Petersburg, he meets Katharina the Great and the two become lovers, and he also meets Cagliostro again, and warns him that Katharina intends to arrest him. Out of gratitude, Cagliostro gives Munchausen a ring that makes him invisible and the ultimate gift of eternal youth, as long as Munchhausen wants it.

Baron Munchhausen was never very complex in the original stories, as they mostly focused on his fairy tales, rather than the vast and interesting personality. But here, the man is a very deep and powerful character, who sees people die around him, while he possesses the gift of eternal life, and becomes more and more torn between his desire for adventure and that to share a mortal life with his friends and loved ones. For this movie the basic concept of the Munchhausen stories was changed a bit, with the film being somewhat of a life story, even though there is no real linear plot, with the narrative reminding more of episodes. While a lot of the film is actually more of a historical drama than fantasy, many scenes will bring you into the wonderful world of Baron Munchhausen, including the cream that makes your hair grow in a matter of seconds, the rifle that can shoot accurately for hundreds of miles and the ride to the moon in an air balloon. An exemplary tale of imagination and creative adventures, Munchhausen's visual effects can't measure up the ones of today, of course, but in perspective to the times, they are absolutely stunning.

Some of the acting in this movie really stands out, even though it mostly centers around the colorful sets. Hans Albers makes the perfect Baron Munchhausen, a witty, intelligent, charismatic and very deep character, who is not the perfect hero, but a man who goes through life trying to have it as exciting as possible. Whether he's deeply philosophical, in the middle of one of his fun adventures, or once again seducing a beautiful woman, Albers is extremely convincing as the flawed, but good-hearted Munchhausen, who learns a lot during his life, enough to choose mortality over eternal life at the end. The film features a huge ensemble of characters, and many of them are just part of one episodes in Munchhausen's life. Hermann Speelmans, who plays Munchhausen's loyal servant and friend Christian Kuchenreuter, was also an exemplary casting choice, and manages to be funny (growing his beard in a matter of seconds) and very emotional (rapid aging on the moon) in a number of scenes. Another performer who really stands out is Ferdinand Marian, as the mysterious Count Cagliostro, who is very power-hungry, self-serving, but in the end a thankful and appreciative man, who rewards Munchhausen for warning him by giving him the eternal youth. Brigitte Horney as Katharina the Great is also great in her role, as the proud monarch, who is completely charmed by Munchhausen.

Another thing that might shock you is the nudity in this movie, that wouldn't get past any US-censor these days, as well as some pretty explicit sexual jokes. Therefore, "Munchhausen" really is a fairy tale for adults and not necessarily for children.

What's left to say, is that "Munchhausen" is a beautiful tale of adventures and imagination, that is an impressive document of what Germany's film industry was able to conjure in the 1940s already. And when Hans Albers rides on the cannon ball, turns his head to the audience, and takes off his hat in greeting, you will completely be captured by his charismatic and smart personality that brings the magic to this outstanding movie.