Film Review: Münchhausen (1943)

In early 1980s cinemas in Communist Yugoslavia showed old films, including some that haven’t been shown before. This usually had something to do with politics, with their content being, for one reason or another, being incompatible with official ideology. Notable examples of films that enjoyed such thawing were integral version of Ben-Hur (with its explicitly Christian content being previously removed over its incompatibility with state atheism) and Ninotchka (an anti-Soviet satire being viewed as anti-Communist). However, even the most imaginative people were quite surprised to see Münchhausen, 1943 period fantasy adventure directed by Josef von Báky, which holds distinction of being the first and only film to be shown in Communist Yugoslav cinema after being produced in Nazi Germany.

The film is based on the life of Baron Hyeronimus Karl Friedrich, Freiherr von Münnchausen, 18th Century German noble who became famous for embellishing his exploits as an officer in Russian Czarist army and even more when those stories served as basis for 1785 book by Rudolph Erich Raspe, which would add all kinds of fantastic adventures to his tale and make Baron Münchhausen into one of the most iconic characters of fantasy literature. The plot begins at a 18th Century ball when the Baron Hyeronimus von Münchausen (played by Hans Albers) becomes object of romantic attention by young noblewoman Sophie von Riedesel (played by Marina von Ditmar) despite her fiance Baron von Hartenfeled (played by Hans Brausewetter) being also present. When he rejects her advances, she leaves the ball, which is revealed to be costume party that takes place in modern times. Baron, who is supposed to be descendant of the famous aristocrat, greets Sophie and Hartenfeled, who is revealed to be amateur historian, and begins the tell the tale of Baron. Plot goes back in 18th Century, when Baron, known for his adventurous life that involves war and women, returns home to his father (played by Eduard von Winterstein) only to leave almost immediately to Russia, accompanied by his trusted servant Christian von Kuchenreutter (played by Herman Speelmans). There he would become favourite and lover of Empress Catherine the Great (played by Brigitte Horney) and develop rivalry with Prince Potemkin (played by Andrews Engelmann). When he warns magician Count Cagliostro (played by Ferdinand Marian) about his arrest, in exchange he is granted ability to remain at his age as long as he wishes. Later, during the war with Ottoman Turks, he takes part in Siege of Ochakov and accidentally rides cannonball into enemy fort. He is brought as prisoner to the court of Sultan Abd ul Hamid (played by Leo Slezak) where he notices Princess Isabelle d’Este (played by Ilse Werner) and rescues her from harem. They come to Venice, where their romantic liaison creates conflict with her brother Francesco (played by Werner Scharf) and brings hostility of Venetian authorities. Baron is forced to flee again, this time with balloon and ends on the Moon where people age much faster than on Earth, but Baron is apparently unaffected, but aware how his eternal youth could have some unforeseen consequences for his happiness in future.

Münchhausen, unlike many German films from Nazi period, became acceptable for future viewers for the exactly the same reason it had been made and for the same reason why it actually became the most popular German film of the entire Nazi era. It was made during Second World War, just in time when fortunes began to shift from Germany and German population began to realise that they would have to endure long, exhausting and increasingly bloody war instead of series quick Blitzkrieg victories. Joseph Goebbels, Nazi minister of propaganda, realised that country’s morale couldn’t be maintained without people enjoying escapist entertainment which was to be provided by German film industry. Goebbels have been deeply impressed with spectacular “larger-than-life” colour films like Hollywood’s The Wizard of Oz and British The Thief of Bagdad, but Technicolor processing was unavailable to German film makers due to war. Thankfully, German chemical industry has developed alternative in form of Agfacolor film and Münnchausen became third film to use the technology. Bright colours weren’t the only attraction and the way for audience to forget bleak every day life. Film had budget that has risen to 6.6 million Reichsmark, thus becoming most expensive in history of Third Reich. Most of it was spent on elaborate special effects, primitive but effective for its age, as well as luxurious sets and costumes. Part of the film, which takes place in Venice, was actually shot on the locations thanks to Italy being German ally at the time. Goebbels even made sure that viewers in Germany and other German-allied countries could enjoy something that viewers in USA could not – shots of topless and even nude women, a sight that Hollywood’s infamous Hays Code would make unavailable for next quarter of century.

The idea of having a film that could help audience temporarily forget about current troubles was realised with somewhat surprising consistency. Despite plot being framed in (presumably) contemporary times, there isn’t any reference, not even implicit, about current war. And there isn’t even any reference to Nazi ideology. Russians and their historical capital St. Petersburg, despite being object of Wehrmacht’s brutal siege during the film’s production, are presented as merely exotic and their ruler, played by regal Brigitte Horney, as wise, elegant lady, quite worthy of protagonist’s affection. Münchhausen also holds distinction as one of rare Nazi-era films to feature black members of cast, playing servants and guards at Sultan’s court. The protagonist, played by Hans Albers, iconic superstar of 1930s and 1940s German cinema, explicitly states that his only interest in life is pleasure and adventures and that thinks little of power, unlike scheming Cagliostro (played by Ferdinand Marian, actor infamous for the title role in anti-Semitic Jew Süss), and that makes him anti-thesis of Nazi ideal of action-minded Aryan man. The script was written by Erich Kästner, popular writer who had, due to his anti-Nazi views, under regime disfavour and had to be credited with pseudonym “Berthold Bürger”. Some critics and film scholars even claim that author’s views has slipped into his script, namely in his lines of dialogue that can be implicit criticism of the regime or political persecution (with Venetian Inquisition that could stand for Gestapo).

In the end, when it came to Münchhausen, nobody cared of politics. Although direction by Hungarian film maker Josef von Báky isn’t breath-taking, it delivers the goods, creating series of memorable scenes and attractive images, accompanied by good soundtrack by Georg Haentzschel. And this is what audience needed and what it got. Untouched by Nazi ideology and its dark legacy, Münchhausen managed, unlike some unfortunate cast members like Hans Brauswetter and Werner Scharf, to survive downfall of the Third Reich and today looks almost indistinguishable from German films that would have been made decade later. As a combination of fantasy, romance, action and humour it works now as well as it did eighty years ago and it could be argued that it provided good inspiration for later future film makers like Czech director Karel Zeman and his The Fabolous Baron Munchausen and Terry Gilliam and The Adventures of Baron Munchhausen.

RATING: 7/10 (+++)

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