CrawlerChunky In truth, there is barely enough story here to make a film.

Sabah Hensley This is a dark and sometimes deeply uncomfortable drama

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

sbasu-47-608737 This movie was remade by Ernst Marischka, the original story writer of this film, in 1955 with Romy Schneider as Die Deutschmeister. having seen both the movies, I found that, the second one was far superior to this, which is a rarity. Normally when the movies are re-made, the so-called superiority is attained by more glitz, and in the way, it weakens the plot. But not in this case. I like both the heroines, Deanna as well as Romy and incidentally they were almost the same age when their respective movies were made, Deanna must have been about 18 and Romy about 17. If I compare the two, Deanna was a bit superior, as far as this movie-pair is concerned, but Romy matured only after she stopped Sissy and similar movies. The other superiority of this movie is obviously the Deanna's singing (Probably, to overcome that, Marischka didn't make the other one Musical). And the male lead, Robert Cummins too (in my opinion) was better than Siegfried Breuer. But there it stops. The plot and the story was far superior and engrossing in the German movie, whereas this particular movie has too many loop-holes in the plot. If I leave alone the actors, who were American, Marischka and Pasternak were Austro-Hungarians, Koster was German, under this conditions the mistakes made seem quite surprising. Thankfully Marischka corrected them, and also changed the plot a bit, in the German movie. Probably due to these glaring errors, I could not really enjoy the movie despite Deanna and some very good songs. The role of Koster's future wife, Peggy Moran seems to be interesting. She is introduced as Archduchess, but definitely she wasn't one. Emperor's Aide, Wiedlemeyer should have contradicted at that point, after all, he might have missed Counts, Minor Princess' , some Duchess' but definitely not an Arch-duchess. In addition, her behavior, or even Marten's didn't fit the chair. Similar to this there are many other loop-holes, including the meeting with Emperor, where Deanna didn't really maintain the 'Awe' which would be natural, or later, the attempt to refuse Kaiser's invitation (which everyone should know is an Order in a disguise and are non-refuse-able). To summarise, watching once was a bit drag, but not too much of it, but it is not repeatable, the other one, being more coherent, is a far better watch.

rsstone Deanna Durbin sang with one of the most beautiful voices ever recorded. This film generously preserves some fine samples of that fact. But perhaps the prospective viewer should know that its story line is much simpler than film stories today where intricate plot twists and violent thrills are expected. Director Henry Koster crafted a sweet comedy about a superstitious, but strong-minded country girl who is fated to meet a self-centered, but talented, corporal who tries to act like a big shot. Henry Koster proves his craftsmanship in his ability to knit together so simple a story and make it interesting and even, in places, arresting. Durbin plays a Hungarian peasant from Szilagy-Somlyo. (It's fun to hear her say it! It happened to be producer Joe Pasternak's childhood home town. Also, how amusing it is to see Durbin, an "All-American Girl," dressed up rather like Eva Braun! Durbin is so beautiful that it does not matter.) The title SPRING PARADE makes no sense to the story line, and that is a clue to understanding the larger, but sad, history of this film. The truth is that the film was first made by Pasternak in 1934, when he produced movies for Universal Studios in Austria and Hungary. Today the first film is identified by either of two names, FRÜHLINGSPARADE or FRÜHJAHRSPARADE, which mean "spring's parade." It tells a probably somewhat fictionalized story of the composition of a famous Austrian military march, the "Deutschmeister Regiments Marsch" by Wilhelm August Jurek in 1893. In the story Jurek is inspired by the rhythmic tapping of his girlfriend in an open-air Viennese restaurant. The climax of the story comes at the end of the film when Emperor Francis Joseph I praises the march while reviewing his troops. Jurek's regiment plays it while passing by. The title SPRING PARADE in that context makes sense. In the Durbin version, the march is replaced by the composition of a waltz. In 1934, Hitler had been chancellor only a year, and a story about a popular march from 1893 was unexceptional. By 1940, however, a movie about a rousing German march would be exceptional. The year 1893 gives the viewer of SPRING PARADE a peg to hang the story on. Now we know that it comes after the assassination of the Empress Elisabeth (Sisi). It adds poignancy to the scenes of the lonely emperor in his royal apartments. In the 1934 film, Joe Pasternak made a big mistake. The screen credits attributed the story to Ernst Marischka, but, in fact, Marischka wrote the screen play from an original story by Ernst Neubach, who was not credited. After World War II, Neubach settled in France. In 1949, he sued Universal Studios for violation of his copyright, and won. Universal Studios lost all rights to, what was for them, a most cherished film. And it disappeared from the public square. No studio-made VHS, DVD, or Blu-Ray disc has ever appeared. One can reasonably wonder about its current status as a property. Has it passed into the public domain? In 1955, FRÜHJAHRSPARADE was remade in color by Ernst Marischka with the title DIE DEUTSCHMEISTER, starring a young Romy Schneider. Wouldn't it be nice if, say, a manufacturer like the Criterion Collection would release a three-film set with FRÜHLINGSPARADE/FRÜHJAHRSPARADE (1934), SPRING PARADE (1940), and DIE DEUTSCHMEISTER (1955), all restored with extras like sections, subtitles, and commentary? Detailed information about SPRING PARADE can be downloaded in PDF format from the academic journal Modern Austrian Literature, Volume 32, Number 3 (or 4), 1999, Special Issue: Austria in Film. The paper is "Spring Parade (1940): Imperial Austria Lives Again (at Universal)," by Jan-Christopher Horak, pp. 74-86. The Packard Campus of the National Audio-Visual Conservation Center of the U. S. National Archives at Culpeper, Virginia, owns a copy of SPRING PARADE, and they have given it at least three public showings. It is probably a clean positive without breaks. The music of SPRING PARADE is significant, with a fine march, two waltzes, and a comic song by Prof. Robert Stolz from 1934. The talented Gus Kahn contributed new lyrics to the music that Durbin sings. Charles Previn of Universal added his own march, which is very fine and needs to be heard today. Finally, Mr. Kahn wrote lyrics to Hans J. Salter's "Blue Danube Dream," which re-works the "Blue Danube Waltz." Durbin's performance of this is magnificent. Just on the music alone this film has cultural significance. It and its sister films should be conserved, restored, and seen again as they were meant to be seen.

pvideo-2 I purchased a VHS copy from Movies Unlimited that was in new condition. The tape however had some flaws, possibly related to the source material. It looked like there was a few seconds missing between a couple of reel changes and a dropout possibly due to missing material or a bad master. It's difficult to tell. The footage/sound was also distorted at times for some of the songs, which could be due to my tracking on my VCR. I had to set the tracking manually to get the best picture and my VCR won't go to auto track once a manual setting is set. My parents have a cheaper VCR and played the tape with auto tracking. The tape had a bit of fuzz near the bottom of it but the audio may have been a little better with worse video. The transfer was produced by some small company with "Hollywood" in their name. It was better than not having access to the title. Of course I wished for better footage.As far as the theme and subject of the movie, this movie is almost in the same vein as the original Good Fairy, in that the actress in both films is playing a country girl with little experience going to the big city. This in a sense is a type of variation in the Good Fairy theme with different typical Deanna Durbin musical twists. If your a fan of Deanna Durbin films you'll find this has all the typical things that happen in one of her musicals. When there's a problem, she'll usually end up singing her way out of them. In this case there are a few minor plot differences and twists that aren't in a typical Deana film, yet enough of the same types of things that a fan will feel at home in watching this movie. This movie might rate as one of the top 5 or 6 of her films. And I give it a high rating, SK "skuddles" is in a typical role as well. I think other criticisms of this film are to harse. I think this is a fine light Deanna Durbin film with enough quality to make it rate highly in a film you should watch if your a fan of her movies. The only problem is the transfer and copy that's available. I own a nonlinear editing system and wonder about the chance of finding a 16mm copy of this and maybe actually making an attempt at a transfer and edit into the other copy giving me a better master for my own home use. I almost feel like going after this as a personal restoration project, but I'm afraid there isn't decent source material to be found and think that the one out there is probably/unfortunately the best source available.These kinds of things happen. Of course you have to rate this within a mindset of when it was produced and the type of movie it is. This is from a different era and to a large extent based on themes in Deanna's other copy of "The Good Fairy" movie theme, mixed in with a little bit of "the shop around the corner". It's a good theme mix. In some ways it's almost a perfect composite of other Deanna and other classic films, because it has so much other little things put in. Having so many little things in it, makes the film appear and actually looser in it's script, it's not as tight a script, but it can't be because it's more of a mix of other film themes all thrown in together. But even with it's loose plot it fits together pretty well.I've put in my opinion without putting in enough to create a spoiler. I think it's worth watching and owning. If it came out from a good copy of 35mm inter-positive, wow I'd be really happy. I don't know if I can find better audio from her "audio" CD recordings that might be edited into a working dub, but I'm tempted to look.Why do I watch these films. Well I put them together for my mom mostly. She likes light musicals with good singing and many of Deana Durbin films fit that bill very well. This film rates up there just below her best films in my opinion. There are 21 of her films out there. Many can only be had if you buy the PAL UK version of the DVD collection and do your own conversion to NTSC using a DVD player that can play Europeon PAL and trans-code it back to the USA standard. Some of the PAL titles have distorted sound as well, probably because the loss of decent film source copies of the movies. Truly a tragedy. Thank God for folks like Keno who try to restore and offer rare films before they are completely gone. Also one more correction. Deanna Durbin films being Black and White are not "rare", all of her films were "black and white" except one. This is due to her high popularity and the studio had to cut corners to afford to have her in the film, so they cut by not shooting in color for all of her films, except one.If your looking for an awesome older musical with charm, check out some of her movies. Totally family friendly with some great film moments in many of them.

SanDiego One of the few Deanna Durbin films, almost all shot in black-and-white, not available on commercial video as of this writing. That's a shame. Universal needs to finally release this film as well Deanna Durbin's HERS TO HOLD, the final chapter in her THREE SMART GIRLS trilogy. SPRING PARADE is a charming and delightfully dated fairy tale-like film and makes a great companion to classics such as Danny Kaye's HANS CHRISTIAN ANDERSON, Shirley Temple's HEIDI as well as Sonje Henie's series of films.