Horst in Translation ([email protected]) This is Josef von Báky's "Münchhausen", a German film from 1943, so this one is almost 75 years old. And you can't deny that it is ahead of its time in terms of visual effects, costumes, art direction and set decoration and last but not least the use of color. But the result is as well that the film, in my opinion, almost entirely relies on the stylistic side here and it does not deliver a story that is on par. Münchhausen is a character that is still very well known today, at least here in Germany and here we find out about his adventures that lead him as far as to the moon. This 110-minute movie is possibly the defining career role for lead actor Hans Albers, one of the biggest (if not the biggest) stars in German film from his era. If you see the year 1943, you will realize that this film came out during World War II, when the Nazis were still in charge. Nonetheless, compared to the despicable propaganda films that came out at the same time, this movie is pretty much entirely apolitical, which I find positive and surprising. The German population certainly needed some comic relief in the face of the possibly darkest days in history. And they may have received it thanks to how stunning this film looks. Good for them. But for us, not so much. I cannot say that this film has aged particularly well, even if the moon sequences were sort of memorable. All in all, it turns out a forgettable case of style over substance that lacks a lot in terms of story-telling. In my opinion, the film dragged way too much to let me recommend it. Watch something else instead.

clanciai This is indeed a wonder of a film and next to something of a cinematic ideal, giving associations directly to George Méliès and his pioneering cinematic idealism, committing himself to any experiment just to fulfil his ideals. But this is not only next to an ideal film but also a literary masterpiece with an impressingly brilliant and ingenious dialogue all through, written by Erich Kästner. To this comes most appropriate music gilding all the best scenes, adding also oral beauty to the visionally perfect dreamworld, enhancing highlights like the ride on the cannon ball, on which the Baron in a typically delightful whim raises his hat to salute the audience, just one of innumerable instances of glorious genius. It's even hilariously funny, the cuckoo duel taking the prize for unforgettability. This is definitely a lasting and outstanding example of cinema at its best, satisfying all criteria for timelessness in beauty, story, imagery, humanity, humour, imagination and inspiration. This is one of those films you can always return to for watching again with new eyes discovering new gems and details of wonder, grace and cinematic glory. Just the opening scene is a marvel, showing a sumptuous 18th century ball gradually being infected by anachronisms, turning the whole thing over into lasting timelessness...A friend of mine made an important comment: "It has to be mentioned that Erich Kästner couldn't use hos own name, but had to use the name Berthold Bürger. Kästner was one of the authors whose books were burned by the Nazis in 1933. He became pacifist during the first world war and wrote the famous "Kennst du das Land wo die Kanonen blühn?"

bkoganbing 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.

NiseJapanese I'm surprised by the number of positive reviews of this film. I think we tend to give old films benefit of the doubt since we can never see them in the same context as they were meant to be seen, i.e. as some one in 1943. I found this film to be weak in plot and rambling. I'm sure the special effects were revolutionary for the day, and the film had an extravagant budget. Unfortunately for many films with those characteristics the plot was completely overlooked and butchered in the attempt to patch all of the effects together in a cohesive story (sound familiar, Lucas?). The acting, in contrast to the extravagant costume and effects, seemed unprofessional and frivolous.If you think I'm being too harsh, take a look at its contemporary, "The Wizard of Oz." It had similar scope in terms of effects, commentary on society, yet far more expertly executed and coherent in its acting and plot. Maybe I'm being too harsh. Maaaaybe. But this film was created after "Wizard," and I think the producers could have endeavored a bit more to match its standards of quality.I'm curious to know if this film has survived the test of time in Germany as "Wizard" has in the USA.