Zwei Herzen im Dreiviertel-Takt (1930) - full transcript
Toni Hofer and brothers Vicki and Nicki Mahler are working on a new operetta. Toni's reputation with women equals his fame as composer, so they keep their sister Hedi away from him. Wanting to know him, she calls at his house in the middle of the night not revealing her identity, helps him write the main waltz theme and disappears, leaving him incapable of remembering his greatest melody. Music by Robert Stolz.
Two Hearts ln 3 / 4-Time
Red V?slauer 1 930
Best Heurigen Wine
See Anni, that song is 100 years old.
And it's still being played today.
And in another 100 years,
it will still be played.
Look, over there is Toni Hofer,
the famous operetta composer!
And the lady? ls she his wife?
On the contrary: his girlfriend.
Anni Lohmeier, the famous soubrette!
They say that she and
Archduke Leopold once. . .
- To your health, Anni.
- To your health.
Always those bad thoughts, Toni.
Your songs are as famous, too!
All the world knows them!
Yes, today.
But in 100 years? Ah, well.
Even only in twenty years nobody
will care two hoots about them.
Come on, don't talk nonsense, Toni.
You're the most famous operetta
composer of Vienna. . . - Certainly!
You've got success, you've got money.
Sure, and l've got you, too!
- Exactly.
And nevertheless l'm not satisfied.
l'm someone who can never be pleased.
But l'm too lazy, too.
lnstead of sitting at home working,
l'm hanging out here,
missing the best of times.
lf my librettists knew about it. . .
Oh, don't mention your two librettists.
Has the libretto for the new operetta
even been finished yet?
Why, certainly!
Nicky and Vicky are surely
sitting at home now,
adding a few gags so that it's
certainly going to be rather good.
Of course, the inseparable triangle!
Music by Toni Hofer.
Libretto written by
Nicky and Vicky Mahler.
Two Hearts in 3 / 4-Time.
Music by Toni Hofer.
Libretto by Vicky and Nicky Mahler.
Vicky?
Yes, Nicky?
Say, what tie are you
going to wear today?
l'll take the dark one
with the light spots.
Then l'll take the
light one with the dark spots.
Hey, y'know what?
l'll take the white one
with the dark spots, too.
But no! So that all the people
will see at once that we're brothers?
Take the one with the light spots!
No, it's too late.
l've already tied it round.
Well, then untie it again.
l wouldn't dream of it.
Untie yours!
Such impertinence!
l had my one first.
That's none of my business.
But l'm the older one.
And the dumber one, too!
What did you say?
Repeat it!
l said that you are the dumber one.
That's all.
Take it back at once:
Give it to me.
Quit joking!
You'll take it back at once
and state the contrary.
l can't.
For the life of me,
you're really the dumber one.
You dare to say that
to my face, you idiot!?
l'm writing the lyrics,
l'm making the dialogues.
The idea is mine, too.
And whose title is it?
lt's mine.
Nobody will go to the
theatre because of your title.
Herr Vicky Mahler!
This goes against my honour as a poet!
You are a common liar!
- Herr Nicky Mahler!
- Yes?
- You are a common rascal!
- My pleasure.
This will be the last libretto
we have written together!
Thank God l don't rely on you!
You hole in nature!
lmpertinent fellow!
The wiser head gives in.
''Cuckoo, cuckoo,
is heard from the woods. . .''
''l don't know what it means
that l'm so sad. . .''
''You must never ask me. . .''
''Go, open your window,
l've been waiting for it so long. . .''
''You, you are in my heart,
you, you are in my mind. . .''
'' Alone, alone, alone am l,
like a stone on the street,
so alone am l. . .''
''And you shall remain alone forever!''
''Give me thy hand, oh fairest,
Whisper a gentle 'Yes'. . .''
''Come to my side,
l like you quite a bit!''
''We stick together, hip-hip-hooray!
We stick together, hip-hip-hooray!''
He's indeed the dumber one!
Why are the bells ringing?
Go, have a look!
Ah, it's you, Herr Weigl!
What can we do for you?
Please come in.
- Please come here.
- Thank you, yes, yes.
Herr Weigl, what are you doing here?
- Thank you.
- Don't mention it.
l have very important
news for the gentlemen.
See, the director of the
operetta theatre has just called.
The gentlemen must go to the theatre
at once and present the new operetta.
Goodness, what has happened?
Well, what happened?
Some chaos with the Christmas premiere.
And the operetta must
be out in fourteen days!
Where's your master?
That's why l'm here: if l only knew.
He left with Anni.
And l said to him:
''See, Herr Hofer'', l said,
''don't mess around with
the ladies from the theatre''.
But do you think he's listening to me?
Well, enough for the moment.
Where could he be?
We have to look for him at once.
Haven't you got any idea, Weigl?
Well. . .
ln the opera. . . he isn't.
Because they're playing some Puccini,
and he has no use for that.
Why not?
Because the operetta is humourous,
whereas Puccini tends to be sentimental.
Perhaps he is at the Apollo?
At the Apollo?
No, l don't think so either.
For there they're playing only artists'
marches, you know the Gladiator's March. . .
Yes, yes, we know that one.
And we've already used all these.
Be quiet, we must find him!
Where could he be?
l've got it!
He needs a new Viennese waltz,
so he'll be at the Heurigen.
Excellent! At the Heurigen!
Let's go to the Heurigen!
Anni Lohmeier shall sing something!
Annerl, be so kind!
But folks, folks, l can't sing!
l'm so hoarse.
Well, kapellmeister,
why don't you play?
Why, certainly!
Well, gentlemen: ''ln Vienna, where
the wine and the waltz blossom''.
A long time ago,
Grandpa took Grandma,
that time is long gone,
it was in Vienna.
Blue was the spring day
when she lay in his arms,
but his Sunday tail coat was green.
Do you hear how enamoured the violins
sound, and how all the angels sing?
Today we won't go home,
because today Strauss is playing!
ln Vienna, where
the wine and the waltz blossom,
the lovely Viennese song blossoms, too.
ln beautiful Vienna, by the Blue Danube,
with its charming, golden-blonde women.
ln Vienna, where
the wine and gaiety sparkle,
in Vienna, where the heart
only dreams of the waltz,
from every cheerful house
a little blonde head looks out,
her heart full of happiness,
like a waltz by Strauss.
Grandpa says: ''Today
something will happen, mama,
today we have money, mama,
today it's going to be beautiful!''
''Today Strauss is playing,
who would stay at home?''
''Today we'll go out,
mama, and have some wine.''
''A dashing, lively waltz
we'll dance, a fine one, in the Prater.''
''Johann Strauss, son
and father, are playing today!''
ln Vienna, where
the wine and the waltz blossom,
the lovely Viennese song blossoms, too.
ln beautiful Vienna, by the Blue Danube,
with its charming, golden-blonde women.
ln Vienna, where
the wine and gaiety sparkle,
in Vienna, where the heart
only dreams of the waltz,
from every cheerful house
a little blonde head looks out,
her heart full of happiness,
like a waltz by Strauss.
Down there.
There he is.
Toni, have you gone mad?
We've been looking for you in all Vienna,
here, and there, and now you're here?
But what has happened?
Has someone died?
On the contrary. We're supposed
to have our premiere in 14 days!
But that's impossible,
l'm not ready yet.
Come along to the theatre,
the director is waiting.
But Nicky and Vicky, it's impossible,
we can't have the premiere in 14 days!
Nothing's finished yet!
Don't talk and come.
- You must be crazy!
- Yes, yes, don't fool about.
l've never seen the likes of it!
The things they do to me!
Toni!
- Don't go!
- Stay a little longer, Miss Annerl!
Come here, Annerl, come.
Play the Radetzky-March!
You will be enthusiastic about
the finale of the second act, director.
- There will be 28. . .
- l want to hear the plot!
Well, director,
our new operetta is called:
''Two Hearts in 3 / 4-time''.
Music by Toni Hofer.
Wonderful.
Libretto by Nicky and Vicky Mahler,
etc. , it's all well known.
So, director, our latest work
is of invaluable. . .
Tell me the plot.
l will evaluate it myself.
Very well, l'll proceed
directly to the plot.
The sets show a little room,
somewhere on the Vienna bastions.
A little room is bad.
We need scenery!
My house is visited
by the most elegant audience.
Director, don't
interrupt me all the time.
At the end, this little room
is transformed into a crystal palace.
Crystal is bad, too.
We'll take mahogany.
Director, don't
interrupt me all the time.
l may as well go.
Stay, just a moment.
You're far too nervous.
Let me tell the story.
Director, in the little room which will
later turn into a crystal palace. . .
Mahogany!
Whatever, mahogany.
Well then, in this little mahogany room
there sits - where the cashier Schlesinger
is sitting now - a pretty blonde girl.
Very nice.
And where the director is sitting,
there stands a poor
but handsome lieutenant.
- And the two of them are. . .
- ln love.
You guessed it! Director,
l admire your foresight.
The two of them have been
in love for a long time.
While the lieutenant is
building castles in the air,
she's sitting there,
sad, and darning stockings.
- That's impossible.
- Why?
Women who darn stockings at home
don't want to see it again in the theatre.
My house is visited
by the most elegant audience.
But then you also couldn't
show two people kissing on stage.
Kissing is a different story.
Women only like it away from home.
All right, it's only a detail.
Then she won't darn.
She'll. . .
She'll paint lampshades.
Very nice.
All right then, lampshades.
And here and there she
casts some sneaking glances
at her lieutenant,
while painting the lampshades.
He feels these glances,
comes to her,
and the first love scene begins.
The blonde girl puts her head
into his hands and says:
''You will become a great man,
a captain,
a major,
a general,
and then. . .''
She starts to sing. . .
''You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.''
Dreams of love blow away quickly,
love is always paid for by suffering,
what you once possessed in spring
you can't forget in autumn.
Even if your mouth promises me fidelity
believe me, darling, l don't believe you!
Already at the first kiss
l can guess the ending:
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
Hofer, that's fabulous, wonderful!
''You too will be unfaithful
to me one day, you too.'' Schlesinger!
- l?
- Note down:
We'll increase the ticket prices
for the first ten performances by 20%.
- Done.
- Wonderful, do it again, do it again.
l must call my wife.
lt's going to be a hit!
Calm down, director.
Now the action starts again.
The action is a minor matter.
The main thing is the next song.
Director, the action is as important!
lt adds the human basis to the songs.
l don't need any basis.
My house is visited by
the most elegant audience. Basis!
Herr Hofer, what is the next song?
Come then, Nicky, get started!
Little girl, you are my sunshine
you are all my happiness on earth,
My sweet little girl,
let me into your heart
l'd like so much
to become happy with you.
Little girl, the most beautiful
spring day can't be compared to you,
When your sweet eyes blissfully greet me,
say to me: ''My darling''.
And now the blonde girl is coming:
ln your eyes lies the heart of Vienna,
in your eyes lies the spring,
in your eyes so blue and faithful
lies my Vienna in the merry month of May.
ln your eyes lies the heart of Vienna,
when they blossom for me in sweet love.
And even though there are
a thousand other beautiful eyes
l am in love with your blue eyes only.
And now the 'Triller-Girls' are coming!
Wonderful, it's going to be a hit!
''ln your eyes lies the heart of Vienna'',
Schlesinger! - Director!
Note down:
- We'll increase the prices by 30%.
- Done!
Decidedly a hit!
- Give my wife a call.
- Yes, director.
- Schlesinger!
- Yes?
- Where are you going?
- l was to call your wife. . .
My wife's none of your business.
Come back here.
What is it?
l'd like to ask you a
humble question, director.
Where's the waltz in this piece?
After all, we're making
a Viennese operetta.
There has to be a big waltz in it.
You don't understand that.
Gentlemen, we're making
a Viennese operetta, aren't we?
There has to be a big waltz in it.
Where is the waltz? Where?
One moment, director.
lt's already here.
Here it is.
The first line is:
''Two hearts in 3 / 4-time, the month
of May has brought them together.''
My words.
Hofer, let's hear it.
Gentlemen, l'm sorry, but l haven't
had an inspiration for the waltz yet.
But Toni, are you crazy?
Please no jokes, no jokes, l ask you.
What's this supposed to mean?
lt means that l don't have it yet.
l haven't been inspired yet.
l don't get inspired at command.
Servus, gentlemen.
Hofer!
Hofer.
l'll make my entire archive
of old operettas available to you .
Take what you want.
The premiere, sir!
Do what you like.
Give a premiere or not, with or
without a waltz, l don't care.
l can't supply music on order
as if it were a tailcoat.
Adieu, gentlemen.
Gentlemen, the premiere
will happen nevertheless.
Dear Messrs. Mahler, you'll make sure
the waltz gets finished, no matter what.
The rehearsals are starting tomorrow.
- Schlesinger, note down:
- Yes, director?
The prices. . . .
remain normal.
The blonde girl and the lieutenant
are sitting together,
and the girl is singing
her song of love to him.
Strange.
- Herr von Hofer, the mail.
- Thank you.
Again and again a little blonde girl.
ln every operetta
the same main character.
l believe that Nicky and Vicky
have a model somewhere
about who l don't know,
or rather, am not supposed to know.
l don't believe that the Messrs. Mahler
keep something secret from Herr Hofer.
Well, Weigl, it seems that you too know
more than you're allowed to disclose.
l don't know anything.
ls that so? Well then.
Where are the two of them, by the way?
Don't they come here today?
No. Today is Wednesday.
Ah yes, the mysterious Wednesday on
which my two poets are never available.
But they left the strict order
that you finish the waltz today. .
Yes, yes, all right.
- The waltz must be finished today.
- Yes, of course.
Always this little blonde Viennese girl.
l've known the two of them
for five years now.
And for five years there has been
a secret every Wednesday afternoon.
Who may this little blonde girl be?
Come, tell me.
Gee!
This gown!
Like for a real lady!
Nicky! Vicky! You're the
best brothers in the world!
Hederle, we're not just your
brothers; we are much more.
We are, as it were, your parents, too.
And if you weren't coincidentally our
sister, we'd marry you on the spot.
That is, l would, of course.
- And l?
- You would remain the brother, of course.
That's what you'd like,
you importunate fellow!
lmportunate fellow?!
Silence! Zounds!
You two rascals!
You come to me only once a week,
and you're quarelling again!
Rather tell me why you are
as crazy as to give me gowns
which l can never wear,
out here in M?dling.
Hederle, listen.
You're going to wear this gown on
the 1 5th of December, on your birthday.
At the premiere of our new operetta.
Really?
l'm allowed to one of your premieres?
Well. . . . then l'll also
get to know Toni Hofer!
Well. . . whether you'll
get to know Toni Hofer. . .
that remains a question.
He's no company for you.
We've told you all the time.
You two are really strange!
For years now l've been hearing nothing
else from you but the name: Toni Hofer.
l know all his songs by heart.
l see his picture in every paper.
And now l finally want to
make his personal acquaintance!
Hederl, be reasonable.
Toni Hofer is a rogue;
he doesn't suit you.
But l insist on getting
to know him, understand?
Hederle, pay attention. Look.
Toni Hofer won't even look at you.
He's got a hundred women,
ten at each finger, if he wants to.
Let me tell you something.
You're still treating me
like a 14-year-old girl.
And on the 1 5th of December l'll be 18!
And at this age every decent girl
in Vienna has already got a past!
Good Heavens! Hedi!
Where has she learned that?
lt's written in your new operetta.
You left the manuscript here.
By the way: that thing about the past
is completely my opinion, too.
That's what you get
from your frivolous jokes!
l told you a thousand times you mustn't
write dirty things into the libretto.
And l told you two thousand times that
you mustn't leave the libretto lying about.
You're the stupidest fool around.
l've always said that we have
to keep her away from Toni Hofer,
because he only needs
to see her to take the bait.
But it was your idiotic idea
to invite her to the premiere.
Where she simply has to meet Toni Hofer.
And after we hid her
from him for five years!
Don't shout at me, you hypocrite!
Not more of a hypocrite than you!
Heavens!
The two of them are quarelling again.
- Cad!
- Rascal!
- You good-for-nothing!
- ldiot!
You. . . copycat!
That's too much!
- l'm leaving.
- Adieu!
lf we should meet again by chance:
you don't have to greet me anymore,
with your wry mouth!
What did you say?!
- You don't have to greet me anymore.
- Fabulous!
That's a magnificent
first line for a song.
''You don't have to greet me anymore''. . .
- Go on.
- ''With your wry mouth.''
That's bad, one can't take that.
One has to say. . .
''
- Wonderful.
- By myself.
Hello, this is M?dling 5-67.
Who? Vienna?
Thank you very much.
Hello?
Weigl speaking.
He's left.
l went down for a quarter-hour,
because vis-a-vis, at the Red Tower lnn,
there's a tapping of Salvator beer today.
A quarter-hour.
Well, l went down at 1 o'clock and
was back in the office at 4 o'clock. .
No more than a quarter-hour.
Who has left? Herr von Hofer, of course.
Has Toni found the waltz?
What? Nine waltzes?
Oh, l see, 'no', he doesn't have it.
He has left for
his summer villa in V?slau.
He wrote down the names of thirty guests.
l'm supposed to invite them
to come to V?slau at 10 o'clock.
l've got the list here.
l have to call all of them now.
Give it to me.
Hello, Weigl. You won't invite anyone!
We'll come to you at once!
Thank you, that was nothing.
Are you crazy? What's this all about?
But Nicky, it's the only way out!
We'll leave Hofer in V?slau,
and disinvite all the guests!
V?slau is far away from
Vienna and its hurly-burly,
so he will be inspired
to write the waltz.
Wonderful. You're
not as dumb as you look.
lndeed. He's expecting thirty guests
but in reality not a single one is coming.
That's gorgeous!
Come, let's go!
Girl!
You look beautiful!
Don't be angry. We have
to leave at once. Goodbye.
And after our premiere we'll
have a whole week of Wednesdays.
He invited thirty guests.
And no-one will come.
Well, Franz, thirty guests. At 10 o'clock
sharp everything must be ready.
Very well, sir.
25, 26, 27, 28, 29. . .30.
lt's almost 10 o'clock,
so they will surely arrive soon.
We're almost there!
Ah, in time!
The first ones are already coming.
Listen, Ferdinand, at 1 2 o'clock
sharp you'll crack the whip,
so that we're back home in time.
Very well, dear miss, the whip
will be cracked at 1 2 o'clock sharp.
- Ferdinand, at 1 2 o'clock sharp.
- At 1 2 o'clock sharp. Goodbye.
Good evening, Herr von Hofer.
Good e. . .
You are very surprised, aren't you?
lndeed.
But surprised in
the most pleasant of ways.
Won't you ask me to doff my coat?
Oh, certainly, beg your pardon.
Fleur Bleu? Am l right?
You guessed it.
- May l?
- Yes, please.
- Does it hurt?
- Not at all.
A little zipper can be a big annoyance.
But now l've got it.
- Size 35?
- 34 1 /2.
Beg your pardon. lf you please.
This is really an enchanting
but somewhat unfamiliar activity.
But it's already going better.
Thank you!
l fear the dining table
will be a little too large.
Why?
Because l have to bring you
some very interesting news.
None of the guests
you have invited is coming.
Only l, who you
didn't invite, l am here.
l don't understand a word.
May l ask with
whom l have the pleasure?
No, you may not.
l actually wanted to ask you to
leave me incognito the whole evening. . .
- A pity!
- . . .as they say in an operetta.
Well, it's indeed like in an operetta!
A charming young girl comes to a lonely
villa in the middle of the night. . .
. . . to get to know the
celebrated Viennese songwriter.
We'll eat together, drink together.
You'll play me your new songs, and. . .
in one hour l'll leave,
and we'll never meet again.
ls it a deal?
Already in one hour?
- Shall l rather leave at once?
- For heaven's sake, no.
lf you please.
- How beautiful it is here!
- Yes?
- Please sit down.
- But where?
Wherever you want.
You have a choice of thirty seats.
- Here?
- Yes, please.
Once l went with Dorothee
into a stable nearby.
We saw a lot of cattle there,
and later we left again.
And if l see a cow now
l think at once of Dorothee.
And if l see a cow now
l think at once of Dorothee.
Once l gave Dorothee
some very fine, sweet chocolates.
She ate them all, one after another,
and gave the box back to me.
And if l see a box now,
l think at once of Dorothee.
And if l see a box now,
l think at once of Dorothee.
To your health, little unknown woman!
To your health, grand maestro.
May l confess something?
l'm actually quite happy that
the others didn't come, only you.
- ls that also in your new operetta?
- No, it's in here, little miss.
- Thanks for the compliment.
- My pleasure.
l'd like to tell you something.
But. . .
l'd rather whisper it into your ear.
Yes. . . But. . . .
l can't believe it. . . Really?
l see.
ls that so?
l see.
- Yes?
- All right.
And now comes the kiss of friendship.
You. . . !
''A soft waltz is
wafting through the room,
and l'm soaring with you
like in a dream.''
ls this from your new operetta?
Yes, it's going to be the main tune.
- What's your new operetta like?
- Please, don't ask.
But l'd like to know.
l'll give you a free
ticket for the premiere, yes?
No, l'd like it to be
premiered here, for me alone.
- Please play the operetta for me now.
- But girl. . .
Perhaps it's not good?
Oh no, on the contrary,
it's my best work.
Then l insist on it.
Please, play the waltz for me.
You know what,
l'd rather play you the slow fox.
No. . . no, no. . .
l'd like to hear the waltz.
But the slow fox is very
stylish; you can dance to it.
And you can sing the waltz.
Well then, the waltz, please.
Please continue.
A soft waltz is
wafting through the room,
and l'm soaring with you
like in a dream
through a host of stars up to heaven,
and everyone gives us a friendly smile.
And l have discovered a secret:
love is even more intoxicating
than sparkling wine.
Lips remain silent
at the sound of the violins,
and no-one dances as well as you!
Two hearts in 3 / 4-time. . .
Two hearts in 3 / 4-time
have been brought together
by the month of May,
two hearts in 3 / 4-time
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4-time,
who needs anything else to be happy?
Wonderful! That was
a real Viennese waltz!
- Why? Was it really good?
- lt was marvellous!
Your very best! All the
people must have told you already.
All the people?
No-one knows the waltz yet.
- You are the first who has heard it.
- But Herr Hofer. . .
Girl! l found my waltz! ln this moment!
What was it, what was the tune?
The box is hidden behind the ball room,
there pure gold is sparkling in the cup.
The sparkling wine is intoxicating us,
and no-one is listening in on us,
we are alone at our rendezvous.
l've secretly stolen the kiss
that your glance had already permitted.
Lips are silent
at the sound of the violins
and no-one kisses as well as you!
Two hearts in 3 / 4-time
have been brought together
by the month of May,
Two hearts in 3 / 4-time,
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4 time,
who needs anything else to be happy?
Girl!
Girl! Girl!
Girl! Girl!
Nicky! Vicky! Where do you come from?
- Toni!
- Hello, Toni!
ln a tailcoat, in the middle
of the night in the street?
Slowly, director, slowly.
Ah, come.
Folks, you come at the right time.
l've found my waltz!
Well, what did l say?
Come, come, play it!
Gentlemen, l announce:
Toni Hofer's best piece.
- A waltz!
- Go ahead.
One moment.
Wait a minute.
Damn.
l need to concentrate for a moment.
Wait a minute. l'll be back soon.
Concentrate!
He grew up concentrating!
He's running around like a madman.
Leave him alone.
lt will return to his mind.
How was it?
l sat here, and she sat there.
Then l kissed her.
Up. . .
Over to the piano. . .
''A quiet waltz. . .''
How was it. . .
lt's too stupid. This has
never happened to me before.
Gone. Lost.
Stay calm, stay calm.
Everything will be fine.
Well now. . .
Folks, don't laugh at me,
believe what you want,
but something has happened to me
that perhaps has never
happened to a musician before.
l have forgotten the tune of the waltz.
- You didn't write it down?
- No.
And did someone listen?
- Yes.
- Who was it?
Tell us. Perhaps this person
can remember the melody.
Who was it?
Well, that's the strange thing about it.
A girl was here earlier on.
That girl inspired me
to compose the waltz.
l played it, and she sang it.
And then she was suddenly gone.
This girl is the only
human being who knows the waltz.
- But who was the girl?
- What's her name? Where does she live?
l don't know it, either.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4 time,
who needs anything else to be happy?
1 3th of December: Dance Rehearsal for All
Two Hearts in 3 / 4-Time
Backdrop down!
Get started!
Hey, adjust the two spotlights!
And even though there are
a thousand other beautiful eyes
Attention!
l am in love with your blue eyes only.
Left one higher!
So this is the entire personnel?
On the ultimo there'll be hundreds
of people at the ticket office.
Where's the First Dancer?
Where's the comedian?
- Good morning, director, l. . .
- l know, to the court as a witness.
- Every week three perjuries!
- Four.
Go to the dressing room.
Put on your make-up, make it snappy!
- Pepi. - Yes?
- Lower the staircase to the stage.
Director, please have a look.
Good morning, Miss Stuckl-
Have you slept well?
- Excuse me, director. . .
- Already excused, you're actually right.
l don't know why we came here.
Next time we can make
a premiere without rehearsal!
Can't we, my child?
Go to the dressing room!
- Beast!
- l?
And Miss Lohmeier isn't here, either!
Now she's coming!
Out of my way.
- Good morning, Miss Lohmeier!
- Good morning, director.
Please excuse that we scheduled
the rehearsal for such an early time.
But director, my uncle. . .
l know, your uncle has died.
My condolences, Miss Lohmeier.
You've been engaged here for three
years, and every week an uncle dies.
That's too much for the biggest family.
But now my patience
is wearing thin, Miss Lohmeier.
lf one more uncle dies,
l'll say only one word:
Find another position!
Don't shrug your shoulders.
You're fired. Schlesinger!
- l?
- Note down.
Miss Lohmeier's advance will be claimed.
- Where are you going, what are you doing?
- But l'm fired!
Of course you're fired,
but that's no reason to go away.
Get ready!
Not here!
Get ready in the dressing room!
- What did you say, Schlesinger?
- Director, l didn't say anything.
That's the point.
Why don't you say anything?
What should l say, director?
- You have nothing to say!
- That's what l said.
- What?
- Nothing.
- Pleased to meet you, Herr von Hofer.
- Good morning, Bratfisch.
- Herr Hofer, have you found the waltz?
- No!
Why haven't you found it?
Besides, l don't understand
how one can lose a waltz!
lt can happen that you
lose a wallet, a woman.
You lose a trial, you lose patience.
But a waltz?!
Schlesinger, have you ever. . .?
For God's sake, come here.
Have you ever heard about losing a waltz?
l haven't lost one yet, director.
Stupid idiot.
Well then, get ready!
Begin!
Silence, director!
Who was that?
We are ready, Herr von Hofer.
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
Yes, you too!
You too will be unfaithful
to me one day, you too.
Yes, you too!
Herr von Hofer, what are you
looking for? The waltz or the girl?
Neither the waltz nor the girl.
Or perhaps both.
You know, Weigl, if l think about it,
then l'm looking for the mood,
you know, the mood of that night
when the girl was with me
and l played the waltz.
l share your opinion.
See, Herr von Hofer, if we had
the girl, we'd also have the waltz.
And if we had the waltz,
we'd also have the girl.
There is only one way:
put a notice in the
Neues Wiener Tagblatt.
l already have the text.
''The young lady who witnessed the birth of
a waltz in the villa of the composer Hofer,
is urgently requested
to get into contact.''
''Letters to be tagged:
'Those are unhappy who forget' ''.
Don't make me
nervous with your silly notice.
Schlesinger, the composer
will never find the waltz.
Put in the Deutschmeister-March,
with new lyrics and a ballet.
You understand?
Schlesinger, note it down.
Schlesinger. . . Schlesinger. . .
Schlesinger!
Where is. . . Schle. . .
When do you start?
- Say, why are you always hiding?
- l?
Ah, come with me.
The palace staircase.
Don't talk so much.
ln your eyes lies the heart of Vienna,
in your eyes. . .
Start your songs yourself, will you?
Tomorrow we'll have the premiere.
l have the feeling that tomorrow
we will have two performances.
Why?
The first and the last.
A joke?
lf you like.
Don't laugh so stupidly.
Shall l cry?
Of course you should cry,
as we still haven't got our waltz.
Hedi, please stop
your continual singing!
Yes, we're already so nervous
because we don't have the waltz.
That's outrageous!
Toni compromises us to the whole town!
Read:
''The young lady who witnessed the birth of
a waltz in the villa of the composer Hofer,
is urgently requested
to get into contact.''
''Letters to be tagged:
Those are unhappy who forget' ''.
That's unbelievable!
Now he even has our
disgrace printed in the paper.
We must go to Vienna at once;
who knows what else might happen!
- When does the dress rehearsal begin?
- At 1 1 pm.
We'll manage to be in time! Come!
Goodbye, Hedi! We must leave.
Hanseli! Hansi!
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4. . .
The young lady who witnessed the birth of
a waltz in the villa of the composer Hofer,
is urgently requested
to get into contact.
Letters to be tagged:
'Those are unhappy who forget'
The good old time has
already gone the way of all things,
it's over, it was very nice, and l was
pleased to make the acquaintance,
All of you knew it well,
and you loved it, too,
loved it like an old aunt
that you don't meet too often.
A new song is playing
that speaks to the heart, too,
but if you sing the new songs,
don't forget the old one.
The song of happiness and joy is over
that sounded at the Danube,
Only one part of it remained,
an old marching song.
Look at that guy, the one with
the moustache! That was my idea!
Director, one moment.
Director, sixteen girls are not enough.
Yes, we need another sixteen girls.
Perhaps the gentlemen do,
but l don't.
Schlesinger, note down. . .
What do you mean, note down?
A notary is outside and wants
to talk to the Messrs. Mahler.
ln the middle of the night?
Herr Sidomirsky. He says it's urgent.
- Vicky, go upstairs.
- You go upstairs!
- Why l? You go!
- You go!
No, gentlemen, both of you go.
You're only disturbing here.
We're disturbing.
That's what l like to hear.
Schlesinger, note down. . .
Herr Sidomirsky,
what are you doing here?
ln the middle of the night?
lt's an honour, my compliments.
l wish you a good evening, gentlemen.
Please excuse the disturbance,
but something very important
forces me at this unusual hour,
or, as they say in Latin,
as a deus ex machina,
to appear in front of you.
Go on, we have
a dress rehearsal downstairs!
Just talk!
Patience, gentlemen, patience.
Steady on.
Or as they say in Latin:
semper cum silentio.
Just be patient, gentlemen.
You will learn at once
what this is all about.
Well then, please sit down.
Gentlemen!
As long-time notary of
your highly esteemed house
l have the honour to tell you
that today is the 14th of December.
So you've come to tell us this?
Not because of this, gentlemen,
but because l want to tell you
that like every year in this year, too,
the 14th of December
is followed by the 1 5th of December.
Sidomirsky!
On this day, gentlemen,
l have to communicate a message
which for ten years has been,
so to speak, slumbering in this letter.
- Give it to us!
- Patience, gentlemen.
l have the task to bestow this
document in the name of your parents,
may God let them rest in peace, or
as they say in Latin: requiescat in pace.
to you,
but only to do the aforementioned
on the 1 5th of December.
The latter, however,
as l can see on my watch,
begins in seven minutes.
Until then, the
gentlemen must be patient.
You are crazy, give me the letter!
What is this all about, after all?
lt is about your sister.
- About our sister?
- About Hedi? - lndeed.
Miss Hedwig Karoline Leontine Mahler.
Dreams of love blow away quickly,
love is always paid for by suffering,
what you once possessed in spring
you can't forget in autumn.
Even if your mouth promises me fidelity
believe me, darling, l don't believe you!
Already at the first kiss
l can guess the ending:
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
Yes, you too.
Thank you, gentlemen! Good night!
Say Schlesinger, you old stager,
what will happen tomorrow?
What do you believe?
What l believe?
l am confessionless.
A Viennese operetta without a waltz?
Gentlemen, l'll now
give you the exact time.
Please compare your watches.
lt is exactly 1 1 o'clock, 59 minutes
and 57. . . 58. . . 59. . .
Gentlemen, it's 1 2 o'clock.
The 1 5th of December has begun.
- Go ahead!
-So, will you read!
ln my function as a notary
l open this document
and read the same to you,
provided l didn't forget my pince-nez.
Ah, there it is.
- Heavens, that's all we needed!
- Terrible!
My beautiful new pince-nez!
- Give it to me, l'll read it!
- No, l will read it!
l am the notary. l am to read.
But l can't read.
- What's to be done now?
- Terrible!
One moment.
Here, read with the opera glass.
- But. . .
- Just read!
To read a will with an
opera glass, it's impossible!
Perhaps the other way round. . .
This way it works.
Well then, gentlemen, pay attention.
''Dear Nicky, and dear Vicky!
We are now talking to you as follows:''
Such a pince-nez costs at least 10 zloty!
- Go on, go on!
- l'll go on.
''The girl that has grown up with you
since your earliest childhood,
that in our ho. . . in our house. . .''
lt's terrible. l'll have to
buy a new pince-nez soon,
l can't run around with
an opera glass all the time. . . .
Continue to read!
But l can't continue
with an opera glass. . .
''. . . lives in our house and is
regarded by everyone as your sister,
is not your sister.
She was, when she was a baby. . .''
- Who is 'Baby'?
- She.
- l?
- No, Hedi!
Ah Hedi is a baby,
it's badly written.
''when she was a baby, adopted,
and today, the day of her 18th birthday,
the 1 5th of December 1 930,
shallall
shallall. . .''
Shallall? What's that. . .
Ah, ''shall all''! But that's stuttered!
''Shall all''.
''. . . shall all the truth be
made known to her. Your parents.''
Well?
Hedi is not our sister?
That's wonderful! That's magnificent!
- Why magnificent?
- Because now she's going to be my wife!
Your wife?! My wife!
l'm going to marry her!
We shall see!
Give this to me; l'll take it to her
and get engaged to her at once!
- Just run! - Give me the key!
- Give me the letter!
- Rascal!
- Thief!
- Murderer!
- Hold-up murderer!
Two hearts in 3 / 4-time
have been brought together
by the month of May,
Two hearts in 3 / 4-time,
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4 time,
who needs anything else to be happy?
Girl!
Please, come give me the violin!
Girl! Girl!
A soft waltz is
wafting through the room,
and l'm soaring with you
like in a dream
through a host of stars up to heaven,
and everyone gives us a friendly smile.
And l have discovered a secret:
love is even more intoxicating
than sparkling wine.
Lips remain silent
at the sound of the violins,
and no-one dances as well as you!
Two hearts in 3 / 4-time
have been brought together
by the month of May,
two hearts in 3 / 4-time
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4-time,
who needs anything else to be happy?
Now, gentlemen, all together!
C Major, a jaunty waltz, kapellmeister!
Subtitles by Tommaso.
Red V?slauer 1 930
Best Heurigen Wine
See Anni, that song is 100 years old.
And it's still being played today.
And in another 100 years,
it will still be played.
Look, over there is Toni Hofer,
the famous operetta composer!
And the lady? ls she his wife?
On the contrary: his girlfriend.
Anni Lohmeier, the famous soubrette!
They say that she and
Archduke Leopold once. . .
- To your health, Anni.
- To your health.
Always those bad thoughts, Toni.
Your songs are as famous, too!
All the world knows them!
Yes, today.
But in 100 years? Ah, well.
Even only in twenty years nobody
will care two hoots about them.
Come on, don't talk nonsense, Toni.
You're the most famous operetta
composer of Vienna. . . - Certainly!
You've got success, you've got money.
Sure, and l've got you, too!
- Exactly.
And nevertheless l'm not satisfied.
l'm someone who can never be pleased.
But l'm too lazy, too.
lnstead of sitting at home working,
l'm hanging out here,
missing the best of times.
lf my librettists knew about it. . .
Oh, don't mention your two librettists.
Has the libretto for the new operetta
even been finished yet?
Why, certainly!
Nicky and Vicky are surely
sitting at home now,
adding a few gags so that it's
certainly going to be rather good.
Of course, the inseparable triangle!
Music by Toni Hofer.
Libretto written by
Nicky and Vicky Mahler.
Two Hearts in 3 / 4-Time.
Music by Toni Hofer.
Libretto by Vicky and Nicky Mahler.
Vicky?
Yes, Nicky?
Say, what tie are you
going to wear today?
l'll take the dark one
with the light spots.
Then l'll take the
light one with the dark spots.
Hey, y'know what?
l'll take the white one
with the dark spots, too.
But no! So that all the people
will see at once that we're brothers?
Take the one with the light spots!
No, it's too late.
l've already tied it round.
Well, then untie it again.
l wouldn't dream of it.
Untie yours!
Such impertinence!
l had my one first.
That's none of my business.
But l'm the older one.
And the dumber one, too!
What did you say?
Repeat it!
l said that you are the dumber one.
That's all.
Take it back at once:
Give it to me.
Quit joking!
You'll take it back at once
and state the contrary.
l can't.
For the life of me,
you're really the dumber one.
You dare to say that
to my face, you idiot!?
l'm writing the lyrics,
l'm making the dialogues.
The idea is mine, too.
And whose title is it?
lt's mine.
Nobody will go to the
theatre because of your title.
Herr Vicky Mahler!
This goes against my honour as a poet!
You are a common liar!
- Herr Nicky Mahler!
- Yes?
- You are a common rascal!
- My pleasure.
This will be the last libretto
we have written together!
Thank God l don't rely on you!
You hole in nature!
lmpertinent fellow!
The wiser head gives in.
''Cuckoo, cuckoo,
is heard from the woods. . .''
''l don't know what it means
that l'm so sad. . .''
''You must never ask me. . .''
''Go, open your window,
l've been waiting for it so long. . .''
''You, you are in my heart,
you, you are in my mind. . .''
'' Alone, alone, alone am l,
like a stone on the street,
so alone am l. . .''
''And you shall remain alone forever!''
''Give me thy hand, oh fairest,
Whisper a gentle 'Yes'. . .''
''Come to my side,
l like you quite a bit!''
''We stick together, hip-hip-hooray!
We stick together, hip-hip-hooray!''
He's indeed the dumber one!
Why are the bells ringing?
Go, have a look!
Ah, it's you, Herr Weigl!
What can we do for you?
Please come in.
- Please come here.
- Thank you, yes, yes.
Herr Weigl, what are you doing here?
- Thank you.
- Don't mention it.
l have very important
news for the gentlemen.
See, the director of the
operetta theatre has just called.
The gentlemen must go to the theatre
at once and present the new operetta.
Goodness, what has happened?
Well, what happened?
Some chaos with the Christmas premiere.
And the operetta must
be out in fourteen days!
Where's your master?
That's why l'm here: if l only knew.
He left with Anni.
And l said to him:
''See, Herr Hofer'', l said,
''don't mess around with
the ladies from the theatre''.
But do you think he's listening to me?
Well, enough for the moment.
Where could he be?
We have to look for him at once.
Haven't you got any idea, Weigl?
Well. . .
ln the opera. . . he isn't.
Because they're playing some Puccini,
and he has no use for that.
Why not?
Because the operetta is humourous,
whereas Puccini tends to be sentimental.
Perhaps he is at the Apollo?
At the Apollo?
No, l don't think so either.
For there they're playing only artists'
marches, you know the Gladiator's March. . .
Yes, yes, we know that one.
And we've already used all these.
Be quiet, we must find him!
Where could he be?
l've got it!
He needs a new Viennese waltz,
so he'll be at the Heurigen.
Excellent! At the Heurigen!
Let's go to the Heurigen!
Anni Lohmeier shall sing something!
Annerl, be so kind!
But folks, folks, l can't sing!
l'm so hoarse.
Well, kapellmeister,
why don't you play?
Why, certainly!
Well, gentlemen: ''ln Vienna, where
the wine and the waltz blossom''.
A long time ago,
Grandpa took Grandma,
that time is long gone,
it was in Vienna.
Blue was the spring day
when she lay in his arms,
but his Sunday tail coat was green.
Do you hear how enamoured the violins
sound, and how all the angels sing?
Today we won't go home,
because today Strauss is playing!
ln Vienna, where
the wine and the waltz blossom,
the lovely Viennese song blossoms, too.
ln beautiful Vienna, by the Blue Danube,
with its charming, golden-blonde women.
ln Vienna, where
the wine and gaiety sparkle,
in Vienna, where the heart
only dreams of the waltz,
from every cheerful house
a little blonde head looks out,
her heart full of happiness,
like a waltz by Strauss.
Grandpa says: ''Today
something will happen, mama,
today we have money, mama,
today it's going to be beautiful!''
''Today Strauss is playing,
who would stay at home?''
''Today we'll go out,
mama, and have some wine.''
''A dashing, lively waltz
we'll dance, a fine one, in the Prater.''
''Johann Strauss, son
and father, are playing today!''
ln Vienna, where
the wine and the waltz blossom,
the lovely Viennese song blossoms, too.
ln beautiful Vienna, by the Blue Danube,
with its charming, golden-blonde women.
ln Vienna, where
the wine and gaiety sparkle,
in Vienna, where the heart
only dreams of the waltz,
from every cheerful house
a little blonde head looks out,
her heart full of happiness,
like a waltz by Strauss.
Down there.
There he is.
Toni, have you gone mad?
We've been looking for you in all Vienna,
here, and there, and now you're here?
But what has happened?
Has someone died?
On the contrary. We're supposed
to have our premiere in 14 days!
But that's impossible,
l'm not ready yet.
Come along to the theatre,
the director is waiting.
But Nicky and Vicky, it's impossible,
we can't have the premiere in 14 days!
Nothing's finished yet!
Don't talk and come.
- You must be crazy!
- Yes, yes, don't fool about.
l've never seen the likes of it!
The things they do to me!
Toni!
- Don't go!
- Stay a little longer, Miss Annerl!
Come here, Annerl, come.
Play the Radetzky-March!
You will be enthusiastic about
the finale of the second act, director.
- There will be 28. . .
- l want to hear the plot!
Well, director,
our new operetta is called:
''Two Hearts in 3 / 4-time''.
Music by Toni Hofer.
Wonderful.
Libretto by Nicky and Vicky Mahler,
etc. , it's all well known.
So, director, our latest work
is of invaluable. . .
Tell me the plot.
l will evaluate it myself.
Very well, l'll proceed
directly to the plot.
The sets show a little room,
somewhere on the Vienna bastions.
A little room is bad.
We need scenery!
My house is visited
by the most elegant audience.
Director, don't
interrupt me all the time.
At the end, this little room
is transformed into a crystal palace.
Crystal is bad, too.
We'll take mahogany.
Director, don't
interrupt me all the time.
l may as well go.
Stay, just a moment.
You're far too nervous.
Let me tell the story.
Director, in the little room which will
later turn into a crystal palace. . .
Mahogany!
Whatever, mahogany.
Well then, in this little mahogany room
there sits - where the cashier Schlesinger
is sitting now - a pretty blonde girl.
Very nice.
And where the director is sitting,
there stands a poor
but handsome lieutenant.
- And the two of them are. . .
- ln love.
You guessed it! Director,
l admire your foresight.
The two of them have been
in love for a long time.
While the lieutenant is
building castles in the air,
she's sitting there,
sad, and darning stockings.
- That's impossible.
- Why?
Women who darn stockings at home
don't want to see it again in the theatre.
My house is visited
by the most elegant audience.
But then you also couldn't
show two people kissing on stage.
Kissing is a different story.
Women only like it away from home.
All right, it's only a detail.
Then she won't darn.
She'll. . .
She'll paint lampshades.
Very nice.
All right then, lampshades.
And here and there she
casts some sneaking glances
at her lieutenant,
while painting the lampshades.
He feels these glances,
comes to her,
and the first love scene begins.
The blonde girl puts her head
into his hands and says:
''You will become a great man,
a captain,
a major,
a general,
and then. . .''
She starts to sing. . .
''You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.''
Dreams of love blow away quickly,
love is always paid for by suffering,
what you once possessed in spring
you can't forget in autumn.
Even if your mouth promises me fidelity
believe me, darling, l don't believe you!
Already at the first kiss
l can guess the ending:
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
Hofer, that's fabulous, wonderful!
''You too will be unfaithful
to me one day, you too.'' Schlesinger!
- l?
- Note down:
We'll increase the ticket prices
for the first ten performances by 20%.
- Done.
- Wonderful, do it again, do it again.
l must call my wife.
lt's going to be a hit!
Calm down, director.
Now the action starts again.
The action is a minor matter.
The main thing is the next song.
Director, the action is as important!
lt adds the human basis to the songs.
l don't need any basis.
My house is visited by
the most elegant audience. Basis!
Herr Hofer, what is the next song?
Come then, Nicky, get started!
Little girl, you are my sunshine
you are all my happiness on earth,
My sweet little girl,
let me into your heart
l'd like so much
to become happy with you.
Little girl, the most beautiful
spring day can't be compared to you,
When your sweet eyes blissfully greet me,
say to me: ''My darling''.
And now the blonde girl is coming:
ln your eyes lies the heart of Vienna,
in your eyes lies the spring,
in your eyes so blue and faithful
lies my Vienna in the merry month of May.
ln your eyes lies the heart of Vienna,
when they blossom for me in sweet love.
And even though there are
a thousand other beautiful eyes
l am in love with your blue eyes only.
And now the 'Triller-Girls' are coming!
Wonderful, it's going to be a hit!
''ln your eyes lies the heart of Vienna'',
Schlesinger! - Director!
Note down:
- We'll increase the prices by 30%.
- Done!
Decidedly a hit!
- Give my wife a call.
- Yes, director.
- Schlesinger!
- Yes?
- Where are you going?
- l was to call your wife. . .
My wife's none of your business.
Come back here.
What is it?
l'd like to ask you a
humble question, director.
Where's the waltz in this piece?
After all, we're making
a Viennese operetta.
There has to be a big waltz in it.
You don't understand that.
Gentlemen, we're making
a Viennese operetta, aren't we?
There has to be a big waltz in it.
Where is the waltz? Where?
One moment, director.
lt's already here.
Here it is.
The first line is:
''Two hearts in 3 / 4-time, the month
of May has brought them together.''
My words.
Hofer, let's hear it.
Gentlemen, l'm sorry, but l haven't
had an inspiration for the waltz yet.
But Toni, are you crazy?
Please no jokes, no jokes, l ask you.
What's this supposed to mean?
lt means that l don't have it yet.
l haven't been inspired yet.
l don't get inspired at command.
Servus, gentlemen.
Hofer!
Hofer.
l'll make my entire archive
of old operettas available to you .
Take what you want.
The premiere, sir!
Do what you like.
Give a premiere or not, with or
without a waltz, l don't care.
l can't supply music on order
as if it were a tailcoat.
Adieu, gentlemen.
Gentlemen, the premiere
will happen nevertheless.
Dear Messrs. Mahler, you'll make sure
the waltz gets finished, no matter what.
The rehearsals are starting tomorrow.
- Schlesinger, note down:
- Yes, director?
The prices. . . .
remain normal.
The blonde girl and the lieutenant
are sitting together,
and the girl is singing
her song of love to him.
Strange.
- Herr von Hofer, the mail.
- Thank you.
Again and again a little blonde girl.
ln every operetta
the same main character.
l believe that Nicky and Vicky
have a model somewhere
about who l don't know,
or rather, am not supposed to know.
l don't believe that the Messrs. Mahler
keep something secret from Herr Hofer.
Well, Weigl, it seems that you too know
more than you're allowed to disclose.
l don't know anything.
ls that so? Well then.
Where are the two of them, by the way?
Don't they come here today?
No. Today is Wednesday.
Ah yes, the mysterious Wednesday on
which my two poets are never available.
But they left the strict order
that you finish the waltz today. .
Yes, yes, all right.
- The waltz must be finished today.
- Yes, of course.
Always this little blonde Viennese girl.
l've known the two of them
for five years now.
And for five years there has been
a secret every Wednesday afternoon.
Who may this little blonde girl be?
Come, tell me.
Gee!
This gown!
Like for a real lady!
Nicky! Vicky! You're the
best brothers in the world!
Hederle, we're not just your
brothers; we are much more.
We are, as it were, your parents, too.
And if you weren't coincidentally our
sister, we'd marry you on the spot.
That is, l would, of course.
- And l?
- You would remain the brother, of course.
That's what you'd like,
you importunate fellow!
lmportunate fellow?!
Silence! Zounds!
You two rascals!
You come to me only once a week,
and you're quarelling again!
Rather tell me why you are
as crazy as to give me gowns
which l can never wear,
out here in M?dling.
Hederle, listen.
You're going to wear this gown on
the 1 5th of December, on your birthday.
At the premiere of our new operetta.
Really?
l'm allowed to one of your premieres?
Well. . . . then l'll also
get to know Toni Hofer!
Well. . . whether you'll
get to know Toni Hofer. . .
that remains a question.
He's no company for you.
We've told you all the time.
You two are really strange!
For years now l've been hearing nothing
else from you but the name: Toni Hofer.
l know all his songs by heart.
l see his picture in every paper.
And now l finally want to
make his personal acquaintance!
Hederl, be reasonable.
Toni Hofer is a rogue;
he doesn't suit you.
But l insist on getting
to know him, understand?
Hederle, pay attention. Look.
Toni Hofer won't even look at you.
He's got a hundred women,
ten at each finger, if he wants to.
Let me tell you something.
You're still treating me
like a 14-year-old girl.
And on the 1 5th of December l'll be 18!
And at this age every decent girl
in Vienna has already got a past!
Good Heavens! Hedi!
Where has she learned that?
lt's written in your new operetta.
You left the manuscript here.
By the way: that thing about the past
is completely my opinion, too.
That's what you get
from your frivolous jokes!
l told you a thousand times you mustn't
write dirty things into the libretto.
And l told you two thousand times that
you mustn't leave the libretto lying about.
You're the stupidest fool around.
l've always said that we have
to keep her away from Toni Hofer,
because he only needs
to see her to take the bait.
But it was your idiotic idea
to invite her to the premiere.
Where she simply has to meet Toni Hofer.
And after we hid her
from him for five years!
Don't shout at me, you hypocrite!
Not more of a hypocrite than you!
Heavens!
The two of them are quarelling again.
- Cad!
- Rascal!
- You good-for-nothing!
- ldiot!
You. . . copycat!
That's too much!
- l'm leaving.
- Adieu!
lf we should meet again by chance:
you don't have to greet me anymore,
with your wry mouth!
What did you say?!
- You don't have to greet me anymore.
- Fabulous!
That's a magnificent
first line for a song.
''You don't have to greet me anymore''. . .
- Go on.
- ''With your wry mouth.''
That's bad, one can't take that.
One has to say. . .
''
- Wonderful.
- By myself.
Hello, this is M?dling 5-67.
Who? Vienna?
Thank you very much.
Hello?
Weigl speaking.
He's left.
l went down for a quarter-hour,
because vis-a-vis, at the Red Tower lnn,
there's a tapping of Salvator beer today.
A quarter-hour.
Well, l went down at 1 o'clock and
was back in the office at 4 o'clock. .
No more than a quarter-hour.
Who has left? Herr von Hofer, of course.
Has Toni found the waltz?
What? Nine waltzes?
Oh, l see, 'no', he doesn't have it.
He has left for
his summer villa in V?slau.
He wrote down the names of thirty guests.
l'm supposed to invite them
to come to V?slau at 10 o'clock.
l've got the list here.
l have to call all of them now.
Give it to me.
Hello, Weigl. You won't invite anyone!
We'll come to you at once!
Thank you, that was nothing.
Are you crazy? What's this all about?
But Nicky, it's the only way out!
We'll leave Hofer in V?slau,
and disinvite all the guests!
V?slau is far away from
Vienna and its hurly-burly,
so he will be inspired
to write the waltz.
Wonderful. You're
not as dumb as you look.
lndeed. He's expecting thirty guests
but in reality not a single one is coming.
That's gorgeous!
Come, let's go!
Girl!
You look beautiful!
Don't be angry. We have
to leave at once. Goodbye.
And after our premiere we'll
have a whole week of Wednesdays.
He invited thirty guests.
And no-one will come.
Well, Franz, thirty guests. At 10 o'clock
sharp everything must be ready.
Very well, sir.
25, 26, 27, 28, 29. . .30.
lt's almost 10 o'clock,
so they will surely arrive soon.
We're almost there!
Ah, in time!
The first ones are already coming.
Listen, Ferdinand, at 1 2 o'clock
sharp you'll crack the whip,
so that we're back home in time.
Very well, dear miss, the whip
will be cracked at 1 2 o'clock sharp.
- Ferdinand, at 1 2 o'clock sharp.
- At 1 2 o'clock sharp. Goodbye.
Good evening, Herr von Hofer.
Good e. . .
You are very surprised, aren't you?
lndeed.
But surprised in
the most pleasant of ways.
Won't you ask me to doff my coat?
Oh, certainly, beg your pardon.
Fleur Bleu? Am l right?
You guessed it.
- May l?
- Yes, please.
- Does it hurt?
- Not at all.
A little zipper can be a big annoyance.
But now l've got it.
- Size 35?
- 34 1 /2.
Beg your pardon. lf you please.
This is really an enchanting
but somewhat unfamiliar activity.
But it's already going better.
Thank you!
l fear the dining table
will be a little too large.
Why?
Because l have to bring you
some very interesting news.
None of the guests
you have invited is coming.
Only l, who you
didn't invite, l am here.
l don't understand a word.
May l ask with
whom l have the pleasure?
No, you may not.
l actually wanted to ask you to
leave me incognito the whole evening. . .
- A pity!
- . . .as they say in an operetta.
Well, it's indeed like in an operetta!
A charming young girl comes to a lonely
villa in the middle of the night. . .
. . . to get to know the
celebrated Viennese songwriter.
We'll eat together, drink together.
You'll play me your new songs, and. . .
in one hour l'll leave,
and we'll never meet again.
ls it a deal?
Already in one hour?
- Shall l rather leave at once?
- For heaven's sake, no.
lf you please.
- How beautiful it is here!
- Yes?
- Please sit down.
- But where?
Wherever you want.
You have a choice of thirty seats.
- Here?
- Yes, please.
Once l went with Dorothee
into a stable nearby.
We saw a lot of cattle there,
and later we left again.
And if l see a cow now
l think at once of Dorothee.
And if l see a cow now
l think at once of Dorothee.
Once l gave Dorothee
some very fine, sweet chocolates.
She ate them all, one after another,
and gave the box back to me.
And if l see a box now,
l think at once of Dorothee.
And if l see a box now,
l think at once of Dorothee.
To your health, little unknown woman!
To your health, grand maestro.
May l confess something?
l'm actually quite happy that
the others didn't come, only you.
- ls that also in your new operetta?
- No, it's in here, little miss.
- Thanks for the compliment.
- My pleasure.
l'd like to tell you something.
But. . .
l'd rather whisper it into your ear.
Yes. . . But. . . .
l can't believe it. . . Really?
l see.
ls that so?
l see.
- Yes?
- All right.
And now comes the kiss of friendship.
You. . . !
''A soft waltz is
wafting through the room,
and l'm soaring with you
like in a dream.''
ls this from your new operetta?
Yes, it's going to be the main tune.
- What's your new operetta like?
- Please, don't ask.
But l'd like to know.
l'll give you a free
ticket for the premiere, yes?
No, l'd like it to be
premiered here, for me alone.
- Please play the operetta for me now.
- But girl. . .
Perhaps it's not good?
Oh no, on the contrary,
it's my best work.
Then l insist on it.
Please, play the waltz for me.
You know what,
l'd rather play you the slow fox.
No. . . no, no. . .
l'd like to hear the waltz.
But the slow fox is very
stylish; you can dance to it.
And you can sing the waltz.
Well then, the waltz, please.
Please continue.
A soft waltz is
wafting through the room,
and l'm soaring with you
like in a dream
through a host of stars up to heaven,
and everyone gives us a friendly smile.
And l have discovered a secret:
love is even more intoxicating
than sparkling wine.
Lips remain silent
at the sound of the violins,
and no-one dances as well as you!
Two hearts in 3 / 4-time. . .
Two hearts in 3 / 4-time
have been brought together
by the month of May,
two hearts in 3 / 4-time
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4-time,
who needs anything else to be happy?
Wonderful! That was
a real Viennese waltz!
- Why? Was it really good?
- lt was marvellous!
Your very best! All the
people must have told you already.
All the people?
No-one knows the waltz yet.
- You are the first who has heard it.
- But Herr Hofer. . .
Girl! l found my waltz! ln this moment!
What was it, what was the tune?
The box is hidden behind the ball room,
there pure gold is sparkling in the cup.
The sparkling wine is intoxicating us,
and no-one is listening in on us,
we are alone at our rendezvous.
l've secretly stolen the kiss
that your glance had already permitted.
Lips are silent
at the sound of the violins
and no-one kisses as well as you!
Two hearts in 3 / 4-time
have been brought together
by the month of May,
Two hearts in 3 / 4-time,
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4 time,
who needs anything else to be happy?
Girl!
Girl! Girl!
Girl! Girl!
Nicky! Vicky! Where do you come from?
- Toni!
- Hello, Toni!
ln a tailcoat, in the middle
of the night in the street?
Slowly, director, slowly.
Ah, come.
Folks, you come at the right time.
l've found my waltz!
Well, what did l say?
Come, come, play it!
Gentlemen, l announce:
Toni Hofer's best piece.
- A waltz!
- Go ahead.
One moment.
Wait a minute.
Damn.
l need to concentrate for a moment.
Wait a minute. l'll be back soon.
Concentrate!
He grew up concentrating!
He's running around like a madman.
Leave him alone.
lt will return to his mind.
How was it?
l sat here, and she sat there.
Then l kissed her.
Up. . .
Over to the piano. . .
''A quiet waltz. . .''
How was it. . .
lt's too stupid. This has
never happened to me before.
Gone. Lost.
Stay calm, stay calm.
Everything will be fine.
Well now. . .
Folks, don't laugh at me,
believe what you want,
but something has happened to me
that perhaps has never
happened to a musician before.
l have forgotten the tune of the waltz.
- You didn't write it down?
- No.
And did someone listen?
- Yes.
- Who was it?
Tell us. Perhaps this person
can remember the melody.
Who was it?
Well, that's the strange thing about it.
A girl was here earlier on.
That girl inspired me
to compose the waltz.
l played it, and she sang it.
And then she was suddenly gone.
This girl is the only
human being who knows the waltz.
- But who was the girl?
- What's her name? Where does she live?
l don't know it, either.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4 time,
who needs anything else to be happy?
1 3th of December: Dance Rehearsal for All
Two Hearts in 3 / 4-Time
Backdrop down!
Get started!
Hey, adjust the two spotlights!
And even though there are
a thousand other beautiful eyes
Attention!
l am in love with your blue eyes only.
Left one higher!
So this is the entire personnel?
On the ultimo there'll be hundreds
of people at the ticket office.
Where's the First Dancer?
Where's the comedian?
- Good morning, director, l. . .
- l know, to the court as a witness.
- Every week three perjuries!
- Four.
Go to the dressing room.
Put on your make-up, make it snappy!
- Pepi. - Yes?
- Lower the staircase to the stage.
Director, please have a look.
Good morning, Miss Stuckl-
Have you slept well?
- Excuse me, director. . .
- Already excused, you're actually right.
l don't know why we came here.
Next time we can make
a premiere without rehearsal!
Can't we, my child?
Go to the dressing room!
- Beast!
- l?
And Miss Lohmeier isn't here, either!
Now she's coming!
Out of my way.
- Good morning, Miss Lohmeier!
- Good morning, director.
Please excuse that we scheduled
the rehearsal for such an early time.
But director, my uncle. . .
l know, your uncle has died.
My condolences, Miss Lohmeier.
You've been engaged here for three
years, and every week an uncle dies.
That's too much for the biggest family.
But now my patience
is wearing thin, Miss Lohmeier.
lf one more uncle dies,
l'll say only one word:
Find another position!
Don't shrug your shoulders.
You're fired. Schlesinger!
- l?
- Note down.
Miss Lohmeier's advance will be claimed.
- Where are you going, what are you doing?
- But l'm fired!
Of course you're fired,
but that's no reason to go away.
Get ready!
Not here!
Get ready in the dressing room!
- What did you say, Schlesinger?
- Director, l didn't say anything.
That's the point.
Why don't you say anything?
What should l say, director?
- You have nothing to say!
- That's what l said.
- What?
- Nothing.
- Pleased to meet you, Herr von Hofer.
- Good morning, Bratfisch.
- Herr Hofer, have you found the waltz?
- No!
Why haven't you found it?
Besides, l don't understand
how one can lose a waltz!
lt can happen that you
lose a wallet, a woman.
You lose a trial, you lose patience.
But a waltz?!
Schlesinger, have you ever. . .?
For God's sake, come here.
Have you ever heard about losing a waltz?
l haven't lost one yet, director.
Stupid idiot.
Well then, get ready!
Begin!
Silence, director!
Who was that?
We are ready, Herr von Hofer.
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
Yes, you too!
You too will be unfaithful
to me one day, you too.
Yes, you too!
Herr von Hofer, what are you
looking for? The waltz or the girl?
Neither the waltz nor the girl.
Or perhaps both.
You know, Weigl, if l think about it,
then l'm looking for the mood,
you know, the mood of that night
when the girl was with me
and l played the waltz.
l share your opinion.
See, Herr von Hofer, if we had
the girl, we'd also have the waltz.
And if we had the waltz,
we'd also have the girl.
There is only one way:
put a notice in the
Neues Wiener Tagblatt.
l already have the text.
''The young lady who witnessed the birth of
a waltz in the villa of the composer Hofer,
is urgently requested
to get into contact.''
''Letters to be tagged:
'Those are unhappy who forget' ''.
Don't make me
nervous with your silly notice.
Schlesinger, the composer
will never find the waltz.
Put in the Deutschmeister-March,
with new lyrics and a ballet.
You understand?
Schlesinger, note it down.
Schlesinger. . . Schlesinger. . .
Schlesinger!
Where is. . . Schle. . .
When do you start?
- Say, why are you always hiding?
- l?
Ah, come with me.
The palace staircase.
Don't talk so much.
ln your eyes lies the heart of Vienna,
in your eyes. . .
Start your songs yourself, will you?
Tomorrow we'll have the premiere.
l have the feeling that tomorrow
we will have two performances.
Why?
The first and the last.
A joke?
lf you like.
Don't laugh so stupidly.
Shall l cry?
Of course you should cry,
as we still haven't got our waltz.
Hedi, please stop
your continual singing!
Yes, we're already so nervous
because we don't have the waltz.
That's outrageous!
Toni compromises us to the whole town!
Read:
''The young lady who witnessed the birth of
a waltz in the villa of the composer Hofer,
is urgently requested
to get into contact.''
''Letters to be tagged:
Those are unhappy who forget' ''.
That's unbelievable!
Now he even has our
disgrace printed in the paper.
We must go to Vienna at once;
who knows what else might happen!
- When does the dress rehearsal begin?
- At 1 1 pm.
We'll manage to be in time! Come!
Goodbye, Hedi! We must leave.
Hanseli! Hansi!
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4. . .
The young lady who witnessed the birth of
a waltz in the villa of the composer Hofer,
is urgently requested
to get into contact.
Letters to be tagged:
'Those are unhappy who forget'
The good old time has
already gone the way of all things,
it's over, it was very nice, and l was
pleased to make the acquaintance,
All of you knew it well,
and you loved it, too,
loved it like an old aunt
that you don't meet too often.
A new song is playing
that speaks to the heart, too,
but if you sing the new songs,
don't forget the old one.
The song of happiness and joy is over
that sounded at the Danube,
Only one part of it remained,
an old marching song.
Look at that guy, the one with
the moustache! That was my idea!
Director, one moment.
Director, sixteen girls are not enough.
Yes, we need another sixteen girls.
Perhaps the gentlemen do,
but l don't.
Schlesinger, note down. . .
What do you mean, note down?
A notary is outside and wants
to talk to the Messrs. Mahler.
ln the middle of the night?
Herr Sidomirsky. He says it's urgent.
- Vicky, go upstairs.
- You go upstairs!
- Why l? You go!
- You go!
No, gentlemen, both of you go.
You're only disturbing here.
We're disturbing.
That's what l like to hear.
Schlesinger, note down. . .
Herr Sidomirsky,
what are you doing here?
ln the middle of the night?
lt's an honour, my compliments.
l wish you a good evening, gentlemen.
Please excuse the disturbance,
but something very important
forces me at this unusual hour,
or, as they say in Latin,
as a deus ex machina,
to appear in front of you.
Go on, we have
a dress rehearsal downstairs!
Just talk!
Patience, gentlemen, patience.
Steady on.
Or as they say in Latin:
semper cum silentio.
Just be patient, gentlemen.
You will learn at once
what this is all about.
Well then, please sit down.
Gentlemen!
As long-time notary of
your highly esteemed house
l have the honour to tell you
that today is the 14th of December.
So you've come to tell us this?
Not because of this, gentlemen,
but because l want to tell you
that like every year in this year, too,
the 14th of December
is followed by the 1 5th of December.
Sidomirsky!
On this day, gentlemen,
l have to communicate a message
which for ten years has been,
so to speak, slumbering in this letter.
- Give it to us!
- Patience, gentlemen.
l have the task to bestow this
document in the name of your parents,
may God let them rest in peace, or
as they say in Latin: requiescat in pace.
to you,
but only to do the aforementioned
on the 1 5th of December.
The latter, however,
as l can see on my watch,
begins in seven minutes.
Until then, the
gentlemen must be patient.
You are crazy, give me the letter!
What is this all about, after all?
lt is about your sister.
- About our sister?
- About Hedi? - lndeed.
Miss Hedwig Karoline Leontine Mahler.
Dreams of love blow away quickly,
love is always paid for by suffering,
what you once possessed in spring
you can't forget in autumn.
Even if your mouth promises me fidelity
believe me, darling, l don't believe you!
Already at the first kiss
l can guess the ending:
You too will be unfaithful
to me one day, you too.
You too will one day lie to me, you too.
So don't swear fidelity to me again,
what good would it be?
You too will be unfaithful
to me one day, you too.
Yes, you too.
Thank you, gentlemen! Good night!
Say Schlesinger, you old stager,
what will happen tomorrow?
What do you believe?
What l believe?
l am confessionless.
A Viennese operetta without a waltz?
Gentlemen, l'll now
give you the exact time.
Please compare your watches.
lt is exactly 1 1 o'clock, 59 minutes
and 57. . . 58. . . 59. . .
Gentlemen, it's 1 2 o'clock.
The 1 5th of December has begun.
- Go ahead!
-So, will you read!
ln my function as a notary
l open this document
and read the same to you,
provided l didn't forget my pince-nez.
Ah, there it is.
- Heavens, that's all we needed!
- Terrible!
My beautiful new pince-nez!
- Give it to me, l'll read it!
- No, l will read it!
l am the notary. l am to read.
But l can't read.
- What's to be done now?
- Terrible!
One moment.
Here, read with the opera glass.
- But. . .
- Just read!
To read a will with an
opera glass, it's impossible!
Perhaps the other way round. . .
This way it works.
Well then, gentlemen, pay attention.
''Dear Nicky, and dear Vicky!
We are now talking to you as follows:''
Such a pince-nez costs at least 10 zloty!
- Go on, go on!
- l'll go on.
''The girl that has grown up with you
since your earliest childhood,
that in our ho. . . in our house. . .''
lt's terrible. l'll have to
buy a new pince-nez soon,
l can't run around with
an opera glass all the time. . . .
Continue to read!
But l can't continue
with an opera glass. . .
''. . . lives in our house and is
regarded by everyone as your sister,
is not your sister.
She was, when she was a baby. . .''
- Who is 'Baby'?
- She.
- l?
- No, Hedi!
Ah Hedi is a baby,
it's badly written.
''when she was a baby, adopted,
and today, the day of her 18th birthday,
the 1 5th of December 1 930,
shallall
shallall. . .''
Shallall? What's that. . .
Ah, ''shall all''! But that's stuttered!
''Shall all''.
''. . . shall all the truth be
made known to her. Your parents.''
Well?
Hedi is not our sister?
That's wonderful! That's magnificent!
- Why magnificent?
- Because now she's going to be my wife!
Your wife?! My wife!
l'm going to marry her!
We shall see!
Give this to me; l'll take it to her
and get engaged to her at once!
- Just run! - Give me the key!
- Give me the letter!
- Rascal!
- Thief!
- Murderer!
- Hold-up murderer!
Two hearts in 3 / 4-time
have been brought together
by the month of May,
Two hearts in 3 / 4-time,
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4 time,
who needs anything else to be happy?
Girl!
Please, come give me the violin!
Girl! Girl!
A soft waltz is
wafting through the room,
and l'm soaring with you
like in a dream
through a host of stars up to heaven,
and everyone gives us a friendly smile.
And l have discovered a secret:
love is even more intoxicating
than sparkling wine.
Lips remain silent
at the sound of the violins,
and no-one dances as well as you!
Two hearts in 3 / 4-time
have been brought together
by the month of May,
two hearts in 3 / 4-time
in a waltz night.
One quarter spring and one quarter wine,
one quarter love, you must be in love!
Two hearts in 3 / 4-time,
who needs anything else to be happy?
Now, gentlemen, all together!
C Major, a jaunty waltz, kapellmeister!
Subtitles by Tommaso.