In Vienna in 1900, Stefan Brand must face a duel the following morning. He has no intention of defending his honor however and plans to flee the city when he notices that he has received a letter from someone in his past. A struggling concert pianist at the time he met Lisa Berndle when she was just a teenager living next door. Brand has had many women in his life however and unaware that Lisa is genuinely in love with him, forgets all about her. They meet again but he only vaguely remembers ever having met her. Unknown to him she bears his child and eventually marries a man who knows of her past but loves her very much. When she runs into Brand many years later her love for him resurfaces and she is prepared to abandon her son and husband for him. Tragedy follows.Written by
The opera Lisa and Johann go to is "The Magic Flute" by Mozart. See more »
While most signs in the movie are written correctly in German, since the movie is set in Austria, parts of them are in English, e.g. Stefan Brand's concert flyer, which says "Concert Program" instead of "Konzertprogramm". See more »
Oh, if only you could've recognized what was always yours, could've found what was never lost. If only...
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All of Ophulus films are remarkable achievements of content and form, but, this film is certainly his greatest contribution to cinema in the USA, and arguably his greatest film of any period. It is the intoxicatingly bittersweet tale of the obsessive love a young girl (Joan Fontaine) develops for a rougish pianist (Louis Jordan) that remains throughout each charcters life, long after most school-girl crushes have faded away. Fontaine charcter is so convincingly and sympathetically drawn that we are pulled into her desire for this rather self-possessed artist against our own rational thoughts. And as the film progresses Fontaine's attraction to the artist begins to deepen and humanize the audiences response to him. This film is deeply concerned with a woman's role under patriarchy and the limitations of "romantic" love as a form of fulfillment. It is also a well thought out examination of the idea of the "artistic" life as offering the possibilities of either liberation or entrapment.
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