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This would not be such a problem but for the fact that Karlsburg has no great wealth, only good breeding. His tutor recommends that he be sent to university to develop an easier, more sociable manner. He eventually slips into the social mix, becomes accepted as a "good chap" by his student peers, and falls deeply in love with Kathie Ann Blyth , a pretty, popular, and musically inclined barmaid, who holds "court" in the local biergarten.

Love notwithstanding, when his old grandfather dies unexpectedly, the young prince must marry the princess and take his place in the small kingdom that he is destined to rule. He returns for one last time to Heidelberg to bid Kathie a poignant farewell. The parallel subplot of the princess being in love with Count Tarnitz, whom she cannot marry, was completely omitted from the film.

Lanza made two recordings of the songs from the movie — the first was a genuine film soundtrack recording, in mono. In , after stereo had become possible on records, another recording with Lanza was issued. But rather than simply reissuing the original soundtrack in stereo which would have been possible since the movie was filmed using 4-track stereo, and stereo albums were released starting in , RCA Victor recorded an all-new studio cast album of the score, and the role of Kathie was sung by soprano Norma Giusti.

The original Dorothy Donnelly lyrics were restored to this album. Both the and albums, however, also included the three additional songs written specially for the film version "Summertime in Heidelburg," " I'll Walk With God ," and "Beloved" , and both albums omit the solo for Kathie, "Come Boys". Films directed by Richard Thorpe. Richard Thorpe. Joe Pasternak. Sakall Betta St. Sigmund Romberg. Gene Ruggiero. Ron Oliver 10 December This wonderful, exuberant, heartbreaking film - one of the last major movies of the Silent Era - is a scintillating example of the artistry of director Ernst Lubitsch.

Ramon Novarro, always eager to please his audience, brings great charm to the title role. Although about 10 years too old to be playing a typical university freshman, he nonetheless brings tremendous enthusiasm to the role. The Studio also insisted on giving their Mexican star a wide range of ethnic parts, everything from Chinese to Arab. It is a shame that Hollywood would not reciprocate by giving him topnotch assignments.

She gives a wonderful performance in what was considered a breakthrough role for her. She earned her celebrity through hard work and honest talent, however, not by noodling with the boss. Jean Hersholt, as the Prince's gentle tutor, puts his own stamp on the kind of sympathetic role with which he would become associated. Arthur as a drowsy inebriate, both unbilled. Carl Davis supplied one of his typically bravura scores for the home video reissue of the film. He conducts the English Chamber Orchestra.

As ancient capital of the Rhenish Palatinate, its electoral counts - always a branch of the Wittelsbach royal family of Bavaria - played a significant role in the history of both the Holy Roman Empire and Central Europe. Although originally Roman Catholic, political vicissitudes brought about a change to Protestantism centuries ago. He can't go out and mingle or meet other people because of his station. He goes to Heidelberg to study. There he meets beautiful bar maid Kathi Norma Shearer and falls madly in love. She loves him too.. Just stunning silent film.

You watch the screen mesmerized by how beautiful it is.

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It's wonderfully directed by Ernst Lubitsch with some truly incredible images but it's Novarro and Shearer who carry this film. He's unbearably handsome--she's just incredibly beautiful. Together they look like perfection and both give superb performances - I believed they were in love completely! There's a just incredible sequence on a starlit night in a field of flowers. All kidding aside, it was so beautiful you could almost cry! It all leads to a tragic but realistic ending. Just simply a must-see movie. Don't miss this one! He is envied by his subjects, but lonely and isolated behind castle walls.

Quite Princely in appearance, and capable of performing royal duties, he is, nonetheless, not enamored with dutiful royalties. With help from tutor Jean Hersholt as Dr. Juttner , he becomes an honor student, and is goes to university at Old Heidelberg. There, he meets and falls in love with commoner Norma Shearer as Kathi. Novarro is appropriately exuberant as the young Prince - his performance is excellent throughout, but really starts to dazzle in the scenes beginning with his witnessing of Ms.

Shearer's downing a German beer. Hersholt is great as Novarro's tutor; both men are superior with the necessary "silent screen" acting, and the more forward "underplaying". Shearer is just a step behind her co-stars in artful acting; but, it's a a gap she will very quickly fill. Shearer is terrific in the scene when she learns Novarro is leaving, and helps him pack.

Philipe de Lacy is notable, playing the Prince as a boy; his characterization matches the older Novarro - director Lubitsch directs these early sequences effectively, creating the image of a young prince in his castle prison. When a couple of important people in the Prince's life die, the story becomes necessarily more somber in tone.

Of course, Novarro must eventually become King - these scenes are beautifully symbolic, and extraordinarily well photographed. The visit by an old friend prompts Novarro's return to Old Heidelberg, with unexpected results. Don't miss a later scene, when Novarro returns to his Old Heidelberg bedroom - especially, watch how Novarro briefly strokes his bed, obviously thinking of Shearer; it's a superb little bit of sexual suggestion.

It would be nice to know whether the gesture originated with Novarro or Lubitsch - but, it's probably not possible to determine. It's the greatest film from one of Hollywood's greatest directors; a silent translation of a popular operetta, and as much fun, romance and heartache as most people can generally stand across an hour and three quarters. Ramon Novarro is the titular prince, the nephew of the king of Karlsburg, whose restrictive upbringing - one of "duty, obligation and loyalty" - goes out the window, however briefly, in a fug of love, friendship and beer, swirling swilling?

The love - and the beer, for that matter - comes from an ethereal but down-to-earth, slightly cross-eyed barmaid Norma Shearer : the guileless, glugging Kathi forever the high point of her screen achievements. Novarro himself wasn't blessed with the greatest range, but then you don't want J. Carrol Naish as your callow, conflicted young romantic, you want a sweet, sensitive, big-eyed kid with a seductive streak - and who more suitable than Novarro, a Latino sex symbol whose tenderness and vulnerability were all too real.

You want your kindly professor, his sense of fun overriding his sense of decorum, played by someone with the chops and twinkle-in-the-eye of Jean Hersholt. And, of course, you want Lubitsch, the inimitable, irreplaceable Lubitsch, behind the camera, every scene handled with that "Lubitsch touch", every moment seeming to offer something new and extraordinary to bring a smile to your lips or a tear to your eye: Shearer checking out Novarro with absolutely no subtlety when they first meet, a garden-full of beer glasses raised with military precision, the look on the lead's face as his love interest downs an entire pint, the pair's spirited night-time excursion to the finest field in movies, and that heartbreaking return to Heidelberg, as heartfelt a paean to lost innocence and the youth that is never to return as the movies have ever served up.

You can analyse the film a dozen different ways and it comes up faultless - from its abundance of visual metaphor, shifting perspectives used to illustrate the prince's changing moods, to the director's sparing use of intertitles, and the use of a groundbreaking shot in summation that predates The Long Good Friday by 53 years - but it all adds up to the same thing: a film for the ages, an emotionally overwhelming portrait of self-sacrifice, paradise lost and position found, of young lovers meeting like passing trains, together for a fleeting, shining moment, then torn away by "duty, obligation and loyalty".

And it's all scored to perfection in the old Thames Silents version by the peerless Carl Davis. On this evidence, not so much, but then isn't life just about enjoying those perfect moments when they come? This film has more than almost any other. Nitrate-4 4 August I found this film an absolute delight. All of the leads put in outstanding preformances.

I did feel, however, that the film loses momentum, to an extent, twoards the end. The music score on the home video edition is, like most by Carl Davis, a big plus. Well worth seeing. Before Sigmund Romberg and Dorothy Donnelly wrote their immortal score for The Student Prince, it had originally been performed as a straight dramatic work by the great turn of the last century stage actor, Richard Mansfield.

Entitled In Old Heidelberg it is what we are in fact seeing here as opposed to a silent version of the musical, an oxymoron if there ever was one. They certainly were as romantic a couple as ever graced the silent screen. Without the music, this version of The Student Prince went for characterization instead.

There is a long sequence of about a quarter of the running time of the film that goes into Prince Karl's childhood with young Philippe DeLacy playing the prince as a child. We see the relationship with the very stern King played by Gustave Von Seyfertitz and later on when he's introduced to his tutor and closest friend, Jean Hersholt.

Hersholt has the best performance in the film. Novarro plays a most charming prince and Shearer is a fetching barmaid with whom he falls in love with. After the childhood prologue, the rest of the film is pretty much the same as the version with Ann Blyth, Edmond Purdom and the voice of Mario Lanza.

Old Heidelberg

For reasons I don't understand MGM which held the rights to the Student Prince did not make a sound version until Odd when you consider that during the Thirties they had Allan Jones under contract who would have been wonderful in the part. I believe the German locale of the story probably had something to do with it not being filmed. Also the subject of an errant prince refusing to face his responsibilities was a big international story with the once and future Edward VIII giving it all up for the woman he loved.

I can believe that Irving Thalberg and Louis B. Mayer probably did not want to anger the British market at that time. Try to see this if it is ever broadcast again. I watched this delightful film on TCM last night. What a revelation! Although the print quality has clearly suffered over the years, the high quality of the original production values shines through. The famous Lubitcsh Touch is all over this sweet, moving film. The acting is also superb! Navarro and Shearer give believable performances as a star-crossed couple in turn-of-the-century Germany.

Navarro, in particular, gives a pitch-perfect portrayal of a reluctant prince who longs only for a simple life surrounded by school-friends and his first love. Also giving a beautiful performance as the prince's tutor and mentor was Jean Hersholt. I have never particularly enjoyed silent films - many seem to me to be overly melodramatic.

But this film changed my opinion. The actors and director were able to communicate so much with very few dialog cards. It made me realize what was lost when talking pictures took over and everything became more literal. Even if you don't think you like silent films, give this one a try. This a delightful film full of humanistic touches-- from young Prince Karl's playful relationship with his good-natured mentor, Dr.

Juttner, his carousing and drinking with the students in Old Heidelberg, to his paddling upon lakes and taking mad carriage rides with the beautiful barmaid, Kathy-- it's all at once side-stitchingly funny, bittersweet, romantic and a nostalgic tribute to youth and young love.

The film is made with such a deft touch that, to the end where Prince Karl returns to visit Heidelberg, it never becomes schmaltzy. It is consistently charming and ends on a pitch perfect note. A real crowd pleaser. Motion Pictures reached a parity of technology and creative expression, resulting in the greatest collective output of this or any other year, unsurpassed in both quantity and astonishing quality.

It was the year of F. Murnau's masterpiece Sunrise and Frank Borzage's 7th Heaven, both starring Janet Gaynor, both produced by Fox and both showered with generous and well deserved awards. While Chaplin was missing from , two of film's comic legends produced what many consider their finest work.

Director Ernst Lubitsch offered a flattering combination of humorous chiding, casual effervescence and tragic duty-before-love resignation, in this lyrical adaptation, his eighth American film. The wealth of craftsmanship and technology available within Hollywood's greatest studio is visible in the lighting, editing and photography of each and every frame. Starring in one of her finest roles as Kathi, Norma Shearer rivaled any actress on the lot.

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She was cast in the best productions, under the aegis of her future husband, executive producer and boy genius Irving Thalberg. As Prince Karl Heinrich, Ramon Novarro's expression of naive exuberance contrasted perfectly to the militaristic reality of his royal obligation. The cast was rounded out by a group of consummate supporting characters including, Jean Hersholt, Gustav von Seyffertitz and everyone's younger self, Philippe de Lacy. A master of light comedy, Lubitsch fails to demonstrate the depth of despair and tragedy seen in the films of Borzage, Seastrom and others, but the exhilarating high entertainment of The Student Prince in Old Heidelberg is only matched by the exceptional beauty of the principle actors.

Lubitsch conveys their shared desire by superimposing their eager faces, plunging the camera into close-ups and revealing the Prince's desperate fantasies of what can never be. With the timidity of a sheltered child, Karl Heinrich enters the beer garden below his rooms, seeking the acceptance of his classmates and Kathi's love.

Lubitsch choreographed the swarming mass of uniformed and attentive young men with such fluid mastery, they seem to extend and punctuate every movement and gesture Karl Heinrich and Kathi make. At the moment their love is realized, they withdraw from reality, reclining in a fantasy of luminous flowers, beautiful, unreal and impossible. MartinHafer 15 July I have seen both sound and silent versions of this movie and I actually prefer the silent one--even though it was based on a musical!

Maybe part of this is because I am not the biggest fan of musicals, but I think more of this has to do with how beautifully made this film is. The film was directed by the great Ernst Lubitsch--a man renowned for his deft artistic touch and romanticism in films. All this is so apparent in this film, as it is just a work of art--gorgeous and romantic through and through. The sets, camera-work and acting are all exquisite and help to make this a very memorable film. If you want to see a sound version, help yourself.

But for me, this is THE definitive version of the film. Pat 22 September The storyline is gripping and the performances are so superb, that you do not miss the dialogue or the music in this story that most people identify with the musical version. As Kathi, the girl the prince leaves behind, Norma Shearer gives a heartbreaking performance.

Rick McCormick

The Student Prince in Old Heidelberg is such a wonderful classic silent film, that it is amazing to me that the movie doesn't get more recognition from Hollywood film organizations. The direction by Ernst Lubitsch is first-rate, as he captures a royal love story, along with the beauty and essence of Imperial Germany in the 19th Century. The look of this silent diamond-of-a-film is unforgettable, and the music score that one now hears on videos of the film only adds to the elegance of this silent art masterpiece.

Ramon Novarro did his best work in this film, and the character of Dr. Juttner played by the wonderful Jean Hersholt is one that is so likable, that audiences root hard for the characters of Prince Karl and Kathi, whom Dr. Juttner supports. She married the greatest film producer that Hollywood will ever know Irving Thalberg , but even without having married 'The Boy Genius' as Thalberg was then called , Norma Shearer would have have shined on her own - which she proved with this film before she married Thalberg.

The reviews for this film in and were overwhelmingly positive - including the November, Photoplay review, which raved about the film. Maybe Hollywood film organizations and historians should take a second look. I loved it, and not just because I have German roots in my family.

Sexy, sophisticated, even without sound teleny 30 January By the time this came out, operetta was in decline, and so were silents. Still this is Lubisch managed to turn what would have otherwise been a fairy tale into a believable drama between a saucy, popular, waitress and a university's "special student", a prince raised with little contact with the outside world and whose father is paying for him to be kept that way.

Sexy details abound: Dad, in this version, apparently owes his son to a similar intregue, Kathi balances her virginal prettiness with knowing gestures check out how she demonstrates the softness of the bed! If you think silents are campy, you'll like this one And you'll love it. FerdinandVonGalitzien 16 February From time to time and in order to remember older better times, it is good to watch again those films that the European aristocracy and especially this German count likes most.

And this German count especially likes this silent film not only because in the oeuvre can be seen Teutonic aristocrats and even crowned kings, not to mention stiff laws about etiquette, uniforms with plenty of medals, tradition, obligation and, last but not least, royal duties. Another reason is because the film has style and classic elegance, primal emotions in motion, beautiful scenery and almost real decors, an impossible but idealistic true love story and memorable and skillful direction. There are a lot of superb silent moments, as for example, the first and unseen kiss in the garden, the night meadow scene, each and every shot starring the heartbreaking Dame Norma Shearer and a charming Herr Ramon Novarro.

Besides those indispensable and unforgettable supporting silent actors, there is finally a magnificent, cruel, real and sorrowful ending.

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