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The Lasting Legacy of ‘Victor and Victoria’

Celebrating Pride Month by looking back at the 1933 touchstone film

By MovieBabblePublished 4 years ago 3 min read
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Kino Lorber

The charming, operetta-style film, Viktor und Viktoria was originally released in its native Germany in 1933. It had a wider release as Victor and Victoria, with English subtitles, two years later. The latter is the version I watched for this article. The story has been reimagined several times, most famously as Blake Edwards’ Victor/Victoria in 1982 (with the incomparable Julie Andrews). Some could argue that films such as Some Like it Hot, and Tootsie were also designed with Viktor und Viktoria‘s blueprint.

Victor and Victoria (the subtitled version) has now been restored, and will be released to Kino Marquee’s virtual cinemas (kinomarquee.com) on June 12th, as part of their Pride Month salute to Pioneers of Queer Cinema. It’s a hilarious film, with a lot to say about gender roles and sexual politics, even if it doesn’t say those things out loud.

The Plot

Viktor Hempel (Hermann Thimig), a down-on-his-luck actor, makes ends meet by performing as a female impersonator. Viktor crosses paths with Susanne Lohr (the delightful Renate Müller) at a casting office, while both are struggling for gigs. He’s too hammy to get the dramatic roles he desires; she’s too young to be taken seriously.

Viktor takes Susanne under his wing, all the while making exaggerations about his life to impress her (and delude himself). Susanne eventually calls him out on his tall tales, and they forge a friendship with much more honesty. Well, they’re more honest with each other, anyway.

Eventually, Viktor comes down with a cold and cannot perform. He makes a reluctant Susanne go on in his stead, so he won’t lose his income. Susanne’s version of his Viktoria character is an instant success, mostly due to her stunning singing voice (and looks). She soon signs a contract to tour several countries, including a long stretch in England. Viktor tags along, to assist Susanne, yes, but to also reap some benefits of her fame.

To carry on the facade of being a male drag performer, Susanne has to live as a man, whom they call Mr. Viktoria. So, she’s a drag king, making a living as a drag queen. Simple enough, right?

Gender Roles

The film’s unusual (at the time) premise allows the actors to play with what is and isn’t considered “manly.” Susanne, professionally known as Viktoria by then (Victoria in England), starts out kind of like a scared little boy (in looks and actions). She has little confidence off-stage, and has a naiveté about her that makes you feel for the character.

As she goes on, Susanne’s Mr. Viktoria persona becomes more of a grown-up. More of what one might consider traditionally male traits/stereotypes. Renate Müller does a wonderful job portraying this evolution.

In the end, Susanne figures out she’s even stronger as herself. It’s refreshing to see a female character so empowered, in such an old movie. She’s done caring what everyone else thinks, and she’s putting her fabulous outfit back on, darn it!

So, It’s a Love Triangle, or…?

Susanne’s life becomes complicated along the way, when she falls for a socialite type named Robert. He is played by the dashing Anton Walbrook, credited here with his original name, Adolf Wohlbrück (which he wisely changed later on). Robert is involved in a love triangle/polyamorous arrangement of sorts. The nature of the trio is never made all that clear, but one lady appears to have two suitors, and the three attend events together. There is a lot of wink-wink, nudge-nudge throughout, but the film is quite chaste. It’s definitely left up to the audience’s interpretation.

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READ THE REST OF THE ARTICLE ON OUR WEBSITE: https://moviebabble.com/2020/06/12/the-lasting-legacy-of-victor-and-victoria/

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