Trivia
In his interview with François Truffaut in 1964 and in many other interviews, Alfred Hitchcock referred to this film as "the lowest ebb of my career".
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The first Alfred Hitchcock film to use "stuttering" in dialogue. This idea of stuttering was later used in Hitchcock films like Rope, Strangers on a Train and Psycho.
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Alfred Hitchcock said about this film " . . . naturally every cut in the film was worked out on script before shooting begins. But more than that, the musical cuts were worked out, too." In certain sequences the images were deliberately cut to conform to the rhythm of the music. Frequently, Hitchcock adds, music can supplement cutting, more especially in quiet scenes where its comment on mood and tone can sometimes be more subtle than the interplay of images which is so important in moments of violence: "Film music and cutting have a great deal in common. The purpose of both is to create tempo and mood of the scene. And, just as the ideal cutting is the kind you don't notice as cutting, so with music".
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Spoilers
The trivia items below may give away important plot points.
The subject of Fear is used throughout the film. Rasi fears that she might lose Young Johann Strauss to Countess Helga. Young Johann Strauss fears that he will never become a successful composer. Older Johann Strauss fears that his great career as a composer will be over in the future. Prince Gustav fears that his wife Countess Helga is having an affair with another man.
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When this film was released in 1933, Alfred Hitchcock was interviewed by Stephen Watts for Cinema Quarterly (1933, Vol. II, No. 2). Hitchcock mentioned like this about the suspense and the use of music in this film - "There is a dialogue scene between a young man and a woman. It is a quiet, tender scene. But the woman's husband is on his way. The obvious way to get suspense is to cut every now and then to glimpses of the husband traveling towards the house. In the silent days, when the villain was coming, you always had the orchestra playing quickening music. You "felt" the menace. Well, you can still have that and keep the sense of the talk-scene going as well. And the result is that you don't need to insist pictorially on the husband's approach. I think I used about six feet of film out of the three hundred feet used in the sequence to flash to the husband. The feeling of approaching climax can be suggested by the music. It is in the psychological use of music, which, you will observe, they knew something about before talkies, that the great possibilities lie."
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Strauss' Great Waltz (1934)
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