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Oh... Rosalinda!! (1955)

"Die Fledermaus" (The Bat) is the pseudonym adopted by Dr. Falke (Anton Walbrook). Floating on the buoyant waltzes of Strauss, this Viennese romp is sure to please. Disguises, tricks, and ... See full summary »


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A British aristocrat goes in disguise to France to rescue people from The Terror of the guillotine.

Directors: Michael Powell, Emeric Pressburger
Stars: David Niven, Margaret Leighton, Cyril Cusack


Cast overview, first billed only:
Anthony Quayle ... Gen. Orlovsky
Anton Walbrook ... Dr. Falke
Dennis Price ... Maj. Frank
Ludmilla Tchérina ... Rosalinda
Michael Redgrave ... Col. Eisenstein
Mel Ferrer ... Capt. Alfred Westerman
Anneliese Rothenberger ... Adele
Oskar Sima ... Frosch
Richard Marner ... Col. Lebotov
Nicholas Bruce Nicholas Bruce ... Hotel receptionist
Arthur Mullard ... Russian guard
Roy Kinnear
Barbara Archer Barbara Archer ... Lady (as Barbara Ash)
Hildy Christian Hildy Christian ... Lady
Caryln Gunn Caryln Gunn ... Lady


"Die Fledermaus" (The Bat) is the pseudonym adopted by Dr. Falke (Anton Walbrook). Floating on the buoyant waltzes of Strauss, this Viennese romp is sure to please. Disguises, tricks, and every kind of deception combine to reveal a would-be cheat in hot pursuit of his own wife, much to his chagrin. Silly, charming, always entertaining, always fun. This is a movie version of "Die Fledermaus" set in post-war Vienna with the main protagonists of Dr. Falke represented by the three occupying powers. This is not just a movie of a staged production, but a truly filmic version of the operetta. Written by Steve Crook <steve@brainstorm.co.uk>

Plot Summary | Add Synopsis


She set the whole town talking with her saucy 'GOINGS-ON'... Oh, what a Girl!!




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Release Date:

2 January 1956 (UK) See more »

Also Known As:

Fledermaus '55 See more »


Box Office


GBP212,000 (estimated)
See more on IMDbPro »

Company Credits

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Technical Specs


Sound Mix:

Mono (RCA Sound Recording)


Color (Technicolor)

Aspect Ratio:

2.55 : 1
See full technical specs »

Did You Know?


Sir Michael Redgrave, Anneliese Rothenberger, and Sir Anthony Quayle did their own singing. Everyone else was dubbed. See more »


Version of Die Fledermaus (1946) See more »


Laughing Song
from "Die Fledermaus"
Music by Johann Strauss (as Johann Strauss)
English Lyrics by Dennis Arundell
See more »

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User Reviews

Champagne, Scotch, Vodka, or Coke?
2 June 2004 | by jshoafSee all my reviews

I just saw this film on a not-too-great VHS copy and wish it could be released on DVD. It would be a great companion to Tales of Hoffmann by the same team, though it is quite different in flavor.

As in Hoffmann, the film is full of dancing--but much of it has an improvised flavor, a polka down the hall, a can-can by Michael Redgrave in full military evening dress and kepi, as well as lots of waltzing-- and some of the actors are lip-synching the arias as sung by folks with bigger voices. But there is also a lot of spoken dialogue, so the actors get to establish their characters in their own voices. The trouble is that the characters are still the silly, exaggerated characters of an operetta, with chiming watches, comic hangovers, and huge plot-enhancing blind spots.

The most interesting character is of course Anton Walbrook's Dr. Falke, the Bat. As in The Red Shoes and La Ronde, Walbrook plays the man who keeps the whole thing going, the leader of the dance, but here he is euphoric, almost ecstatic. Falke is presented as a black-marketer who arranges parties for the higher-ups of the Four Powers occupying Vienna, and keeps them on good terms with each other; he exploits them, lives off them--and he would like to see them all go home. He is witty and views everything with cheerful irony, but he never stops enjoying himself for a moment, never goes down, only up, up, up.

Ludmilla Tcherina is a delightful French farce heroine, flirting only when absolutely necessary. Michael Redgrave gets to do some great swooping physical comedy (apparently he also did his own singing, but who can tell?). Mel Ferrer comes off well in his light role as the old boyfriend, as does Dennis Price in a smaller role whose main duty is to be recognizable for plot purposes. Anneliese Rothenberger is a reminder of more conventional stagings, where the singers act instead of having actors "sing."

I felt that the 1955 setting was a bit thin--were the 50's really THAT much about denying what had happened and "moving on"? Maybe they were--Pressburger and Powell were good at telling where the wind was blowing.

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