The oddly-named Betty Bird (her real name?) was a Viennese actress who played frothy roles in pre-war films; her early death was due to the deprived circumstances in wartime Austria following the Anschluss. IMDb lists Betty Bird in the casts of several American films of the late silent era, but I'm certain that this is a different actress with the same name.
'What Am I Without You?' is an extremely lightweight musical, made four years before the Anschluss and blessedly free of Nazi content. (Although this film's scenarist Thea von Harbou would later become a full-throttle propagandist for the Reich.) The plot line of this film and its general tone are remarkably similar to 'Bells Are Ringing', the Broadway and film musical that was conceived as a star vehicle for Judy Holliday. It also bears more than a passing resemblance to a certain 1950s American sitcom translated into German, which I'll call 'Ich Liebe Lucy'.
Betty Bird stars as Paula, the devoted Bavarian wife of Erwin Schwartz (dull actor Wolfgang Liebeneiner), an idealistic young composer. While Erwin struggles to write his great symphony, Paula pays the bills by working as the hat-check girl in a grand hotel. Meanwhile, their neighbour Franz (Rudolf Platte, not so dusty) is a struggling playwright hoping to script a comedy that will make him rich and famous. (No comment.)
When Paula learns that Herr Ulrich, the big-shot movie director, is going to premiere his new movie at the posh hotel where she hat-checks, she immediately shifts into Judy Holliday mode ... with a side order of Lucy Ricardo. Oh, have I mentioned that Paula wants to be in show-biz? Disguising herself (somewhat implausibly) as a society matron, Paula gains the confidence of Ulrich's star actress Olga Tschechowa (a name to conjure with). I would say that Olga plays Ethel to Paula's Lucy, except that in this case the sidekick (Ms Tschechowa) is clearly more glamorous than the frontkick (Fräulein Bird).
SPOILERS COMING. When the dust settles, Paula has persuaded Ulrich to film Franz's play, starring herself in the lead role! And the hotel orchestra is playing Erwin's latest melody, which is a sure-fire hit! Happy endings all round. Sehr güt!
'What Am I Without You?' is a thick slice of Viennese pastry, with no surprises ... but it remains enjoyable. At the time of its release in Germany, Austria and Switzerland, this film enjoyed the appeal of an 'all-star cast' ... due to the fact that many prominent actors and actresses of the German film world make brief appearances here as themselves, during the film-premiere sequences. (Wot, no Emil Jannings?) However, most of these actors are now entirely forgotten, even in their homeland. At several points while I watched this film, the camera prominently framed some newcomer ... and I would get the sensation that I was expected to recognise this utterly unfamiliar man or woman. (I got a similar sensation while watching 'Around the World in 80 Days', in which many of the vaunted 'guest stars' are actually obscure actors such as Basil Sydney.) After the third or fourth time this happened in 'What Am I Without You?', I found it very maddening indeed. I'll rate this movie 4 points out of 10, mostly as a pleasant memento of a time when Vienna still danced to the waltz ... instead of the goose-step.
'What Am I Without You?' is an extremely lightweight musical, made four years before the Anschluss and blessedly free of Nazi content. (Although this film's scenarist Thea von Harbou would later become a full-throttle propagandist for the Reich.) The plot line of this film and its general tone are remarkably similar to 'Bells Are Ringing', the Broadway and film musical that was conceived as a star vehicle for Judy Holliday. It also bears more than a passing resemblance to a certain 1950s American sitcom translated into German, which I'll call 'Ich Liebe Lucy'.
Betty Bird stars as Paula, the devoted Bavarian wife of Erwin Schwartz (dull actor Wolfgang Liebeneiner), an idealistic young composer. While Erwin struggles to write his great symphony, Paula pays the bills by working as the hat-check girl in a grand hotel. Meanwhile, their neighbour Franz (Rudolf Platte, not so dusty) is a struggling playwright hoping to script a comedy that will make him rich and famous. (No comment.)
When Paula learns that Herr Ulrich, the big-shot movie director, is going to premiere his new movie at the posh hotel where she hat-checks, she immediately shifts into Judy Holliday mode ... with a side order of Lucy Ricardo. Oh, have I mentioned that Paula wants to be in show-biz? Disguising herself (somewhat implausibly) as a society matron, Paula gains the confidence of Ulrich's star actress Olga Tschechowa (a name to conjure with). I would say that Olga plays Ethel to Paula's Lucy, except that in this case the sidekick (Ms Tschechowa) is clearly more glamorous than the frontkick (Fräulein Bird).
SPOILERS COMING. When the dust settles, Paula has persuaded Ulrich to film Franz's play, starring herself in the lead role! And the hotel orchestra is playing Erwin's latest melody, which is a sure-fire hit! Happy endings all round. Sehr güt!
'What Am I Without You?' is a thick slice of Viennese pastry, with no surprises ... but it remains enjoyable. At the time of its release in Germany, Austria and Switzerland, this film enjoyed the appeal of an 'all-star cast' ... due to the fact that many prominent actors and actresses of the German film world make brief appearances here as themselves, during the film-premiere sequences. (Wot, no Emil Jannings?) However, most of these actors are now entirely forgotten, even in their homeland. At several points while I watched this film, the camera prominently framed some newcomer ... and I would get the sensation that I was expected to recognise this utterly unfamiliar man or woman. (I got a similar sensation while watching 'Around the World in 80 Days', in which many of the vaunted 'guest stars' are actually obscure actors such as Basil Sydney.) After the third or fourth time this happened in 'What Am I Without You?', I found it very maddening indeed. I'll rate this movie 4 points out of 10, mostly as a pleasant memento of a time when Vienna still danced to the waltz ... instead of the goose-step.
