Undoubtedly, the story staged by E. W. Emo in The Fairy Doll is nothing particularly original. It could even be stated that the feature film has acquired particular historical importance today precisely because it is one of the films in which Romy Schneider’s parents took part when they were young. Yet, despite everything, we must recognise a certain grace and elegance in the staging of the tender love story between the two young protagonists.
It is not surprising that a feature film like 1. April 2000 (a fine fantapolitical satire directed by Wolfgang Liebeneiner) was made precisely in 1952, seven years after the end of the world war and only three years before the Austrian State Treaty by which, among other things, the nation’s neutrality was officially proclaimed.