Production: Sascha Film

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CROWN PRINCE RUDOLPH’S LAST LOVE

Despite being a heavily fictionalised feature film with many flaws, Crown Prince Rudolph’s last Love by Rudolf Jugert works. And it does so with a decidedly simple screenplay, which focuses first and foremost on the essentials without digressions and almost entirely devoid of subplots. Everything foreshadows an impending tragedy. The shadows get the better of the lights. Mary Vetsera’s naive face speaks for itself.

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CHARLEY’S AUNT

Charley’s Aunt, based on the play of the same name by Brandon Thomas and starring a great Peter Alexander, is the classic musical comedy of errors, but nonetheless genuine and capable of making one smile, although not proving to be hilarious.

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IM AUTO DURCH DIE ÖSTERREICHISCHEN ALPEN

An elementary direction that openly refers to the documentary approach of the Lumière brothers is a salient aspect within the documentary Im Auto durch die Österreichischen Alpen. And this mise-en-scène – which on this occasion also involved the camera itself being placed on the moving vehicles from time to time – deliberately avoided any particular directorial virtuosity or authorial ambitions, with the sole aim of filming reality as it was.

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EINE FAHRT MIT DER MARIAZELLER BAHN

The railway line along which the so-called Mariazeller Bahn travelled is the oldest mountain railway line in Austria. This railway line was, around the 1910s, completely electrified, also thanks to the numerous hydroelectric power stations along its route. The documentary Eine Fahrt mit der Mariazeller Bahn gives us the opportunity to get to know this reality up close.

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VORFRÜHLING AM ATTERSEE

An extraordinary calm and a welcome serenity pervade Vorfrühling am Attersee, conceived, like many other tourist documentaries made in the early 20th century, to appeal to as many tourists as possible in Austria and to give abroad an image of the nation where prosperity was commonplace.

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DIE TAT DES ANDREAS HARMER

Die Tat des Andreas Harmer is an extremely sophisticated noir, where – just as the great Fritz Lang had shown us in Metropolis in 1926 – the clear separation between good and evil is well represented on two levels by the settings, be they the basement of a building and the sewers of the city or a sunny park on a hot summer’s day.

CAFÉ ELEKTRIC

Café Elektric is part of the so-called Sittenfilme – moral films – in which were told the stories of women who, after leading a dissolute life, finally understood the importance of true values. Made in 1927, the film is unfortunately incomplete today, as the last part has been permanently lost.