Mayerling (1968)
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VHS Movie Reviews of Mayerling (1968)
Movie Review: A Visual and Musical Delight
Summary: 3 Stars
I saw the 1968 version of Mayerling in April of 1969 at a base theater
while I was in basic training in the Air Force. I note this because the
subject of the film and its well-dressed actors and its European scenery
were so different from the military surroundings and military "dress"
which I was enduring at the time. I had not heard about the story of
Prince Rudolph and Princess Maria before. But suspected Mayerling's tragic ending from the start, but I think it did take the film a long time to reach its conclusion. However, I believe Mayerling was a visual delight and the musical score was beautiful too.
The cast was excellent with Omar Sharif and Catherine Deneuve along with
Ava Gardner and James Mason. To many the story of these tragic lovers
seemed unbelievable and some criticized the dresses the women wore as too
1960's in style. I did not notice this.
I have n't seen Mayerling in over thirty years and I think I will buy my
own DVD and see it again. Seeing this film again will remind me of what
I was doing when I first saw it, as I think many films and popular music
do for many people.
Movie Review: Saturated With Khachaturian's Best Music & Entertaining Too!
Summary: 4 Stars
IN A NUTSHELL: A FILM WORTH SEEING & HEARING
This seems to be one of those movies that is either loved, hated or ignored by movie fans. Interestingly, most of the reviews I have seen make mostly relevant points both pro and con. Nevertheless, I do admit feeling some very tugging emotions during many parts of the movie and not just the romantic interludes between the Grand Duke and his very charming young mistress "Maria Vetsera" played by Catherine Deneuve. There is a sense of real urgency between "Grand Duke Rudolf" played by Omar Sharif and his father "Emperor Franz Josef" played by a convincing James Mason. A "wall" has been built between the two and the Grand Duke makes it clear to his all powerful sulking father that it will be up to him [the Emperor] to remove it. A task perhaps to great for even the all powerful. I find myself wishing for this universal issue between this father and son to be resolved and its possible historic importance only adds to the urgency.
OKAY - THERE ARE SOME ODDITIES ABOUT MAYERLING
Nevertheless, although there is much good to be said for the movie as a whole, it does contain some very difficult to take flaws. Casting aside, the wardrobe department made itself very obvious in the choice of eyeshadows, blushes and hairdos that are right out of the 1960s. This emphasis on the 1960's howwever only affects the women so they seem a bit out of place when they are seen typically with uniformed high ranking officials whose wardrobe is very accurately right out of antiquity. This is a needless distraction that detracts from the exquisitely time perfect sets that are genuine in most respects. Also, Ava Gardner [Empress Elizabeth] seems out of place and there is a mix of foriegn and English actors that are for better or worse ample and very correctly attired.
AH: BUT THE MUSIC BY KHACHATURIAN
The entire film is lifted quite a bit by the very appropriate and well timed saturation of Khachaturian's Best Music from the ballet Spartacus. Most of it sounds like variations from the Adagio movement which is one of the most longing and romantic orchestral overtures ever written and very strongly suggestive of the last vestages of the Holy Roman Empire and this doomed romance which is of course the setting for the entire film.
----- * THE CAST --*
Omar Sharif - Crown Prince Rudolf
Catherine Deneuve - Maria Vetsera
James Mason - Emperor Franz Josef
Ava Gardner - Empress Elizabeth
James Robertson-Justice - Prince Of Wales
Genevi?ve Page - Countess Larisch
Andr?a Parisy - Princess Stephanie
Ivan Desny - Count Josef Hoyos
Fabienne Dali - Mizzi Kaspar
Veronique Vendell - Lisi Stockau
Howard Vernon - Prince Montenuevo
Irene von Meyendorf - Countess Stockau
----- * THE PRODUCTION CREW --*
Terence Young - Director / Screenwriter
Robert Dorfmann - Producer
Claude Anet - Book Author
Michael Arnold - Book Author
Dennis Cannan - Dialogue Writer
Joseph Kessel - Screenwriter
Henri Al?kan - Cinematographer
Francis Lai - Composer (Music Score)
Monique Bonnot - Editor
Georges Wakh?vitch - Production Designer
Maurice Colasson - Art Director
Tony Roman - Art Director
Marcel Hellman - Executive Producer
Marcel Escoffier - Costume Designer
Jacques Carrere - Sound/Sound Designer
Joseph DeBretagne - Sound/Sound Designer
----- * AWARDS --*
Best Foreign Film - English Language (nom) 1969 Golden Globe
BOTTOM LINE:
Sentimental and very compelling period piece with great personalities brought to the screen by great actors. The tone set by Khachaturian's Spartacus [Adagio Movement] recurs thematically throughout the film and seems just perfect for the bittersweet mood of this tragic romance.
Movie Review: Great film!
Summary: 5 Stars
James Mason is as handsome as ever. It's a really well worth seeinf film. I highly recommend it.Movie Review: Not Perfect, But Vastly Entertaining
Summary: 5 Stars
I have been told that the French predecessor of this film is better, but I don't see how. The compelling true story of the downfall of the Hapsburg family is recounted here with an emphasis on the personal tragedy of Prince Rudolph. Here is a man trapped in a loveless marriage, domineered by his tyranical father, deprived of the love of a mother who tries to dazzle everyone, caught in the uprisings of democratic politics, and addicted to cocaine to dismiss his pain. To add to his personal pain, he meets a beautiful, penniless noblewoman, whose family is basically out of favor, and falls hopeless in love. The politics, the personal manipulation, the suffering of the lovers is beautifully presented by MGM in their grand style. Sharif may not be the optimal Rudolph, but who could be immune to Catherine Deneuve's charm. James Mason is a perfect cold and stern Emperor, and Ava Gardner (miscast) fares adequate as the Emperess. It is James Roberton Justice, who plays the Prince of Wales, who steals the movie. His every scene is a joy. The European character actors who fill out the cast do a fine job, and the story unfolds as the tragic love should. Whether you believe that Rudolph killed his mistress and himself, or that his father had the secret police remove him, you will enjoy this movie. Good musical score too!Movie Review: Schmaltz
Summary: 1 Stars
In early 1889, Crown Prince Rudolph, son of Emperor Franz Joseph and heir to the Hapsburg Empire, took his teenage mistress, Baroness Maria Vetsera, to a hunting lodge called "Mayerling." What happened there has been the subject of a good deal of speculation, but the most popular version is this: That sometime in the early morning hours of January 30th, Rudolph killed Maria with a single shot from his revolver, and then, some hours later, took his own life. How they came to this moment in time is the subject of the film, "Mayerling" which stars Omar Sharif as Rudolph and Catherine Deneuve as Maria.The film is highly sympathetic to the lovers, portraying them as kindred souls beset by the prejudices and stupidities of everyone around them. Rudolph's liberal political views and Maria's innocence are made much of, and the idea that they were driven to the desperation of a suicide pact is central to the persuasiveness of this film. Unfortunately I have a hard time buying any of it, and perhaps it's partly because I know too much about the real couple and their situation, but I think it's also because the film is so heavy-handed that we feel more bludgeoned than persuaded. Sharif is wooden as Rudolph, but in all fairness some of the lines he's asked to deliver are almost laughable. The Oedipal subtext between Rudolph and his mother, Elizabeth, has no real purpose beyond titillation, and it is frankly difficult to believe in Deneuve as ing?nue. Had all the roles been written with more authenticity the story might well have worked as a tragedy, but Terence Young, who apparently drew on the novels of Claude Anet and Michel Arnold to write the screenplay, has taken the easy route here, complete with cardboard villains and people's heroes. Not even James Mason as Franz Joseph or the ravishing Ava Gardner as Empress Elizabeth can propel this particular film out of the category of Bad Romance.
The look of the film owes more to the era in which it was made than that which it seeks to portray. Makeup, hairstyles, even costumes reflect a sixties sensibility which may have put audiences at ease in 1968, but which are jarring today. Frankly, this is one of the things that can really turn me off of a film; I tolerate it in "Doctor Zhivago," but in "Mayerling" it becomes so distracting, that any credibility this film might have had for me goes right out the window whenever I see an actress with overdone, sixties-style eyeliner or lots and lots of hair woven into intricate, sixties-inspired dos. I suggest you give this one a miss unless you're in the mood for some schmaltz.
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