The original stage musical "Im weissen Rössl" was a huge international hit in the early 1930s. It probably enjoyed success beyond its merits, but it did have certain factors in its favour. First, amid the turmoil of the Great Depression, it harked back nostalgically to the 'good old days' of the Austro-Hungarian Empire. Secondly, it was a spectacle, with fancy stage effects, a large chorus, and elaborate choreography. Thirdly, its music appealed to a wide audience by mixing traditional Viennese operetta with Broadway styles.

Strangely, the makers of this 1960 film adaptation, while basically retaining the original plot, dispensed with most of the show's advantages. For a start, they opted for a modern setting: the girls wear bikinis, and Sigismund arrives by helicopter. The Emperor Franz Josef does not appear in this production! True, the natural scenery of the Wolfgangsee is more spectacular than any stage set, but there is little ensemble singing and dancing. As for the music, they simply ditched the majority of it and appointed a largely non-singing cast. Only six or seven songs remain, and they are nearly all shortened and assigned to Leopold (Peter Alexander). The leading lady (Josefa), with nothing to sing, makes very little impression. In the absence of songs, the backing track keeps repeating a couple of the main melodies in jazzy re-arrangements under the dialogue.

Take the music out of a musical, and you are left with very thin fare. The main substitute here is slapstick in the style of Norman Wisdom, e.g., the accidental water-skiing scene and the business with the fire-hose and the toupée. Peter Alexander, apparently a star in Austria, clowns his way through the film energetically, but it isn't enough.

Visually, the film is striking. The very bright colours are those of picture postcards and holiday brochures, which is apt for a story set in the tourism industry. Of course, IMDb's inclusion of 'Kitsch' as a keyword is absolutely justified. Unfortunately, "The White Horse Inn" (1960) lacks the charm that might have redeemed it.

German cinema is famous for its historical depth, expressionist aesthetics, and social-political engagement. It has moved from Expressionism to political reckoning, from New German Cinema's raw realism to contemporary genre experiments. Its legacy lies in both technical innovation and deep explorations of history, morality, and philosophy.

The comedy genre refers to a category of entertainment that aims to amuse and entertain audiences by using humor, wit, and comedic situations. Comedies are created with the primary intention of eliciting laughter and providing lighthearted enjoyment. They encompass a wide range of styles, tones, and themes, appealing to various tastes and audiences.

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The musical genre features stories that combine music, singing, dancing, acting, and often spoken dialogue to tell a story or convey a narrative. Musicals incorporate various elements of drama, music, and choreography to create a cohesive theatrical experience that engages audiences on multiple levels.

Julie Andrews in The Sound of Music (1965)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

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Peter Alexander and Waltraut Haas in The White Horse Inn (1960)

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Bergland-Filmatelier, Wels, Upper Austria, Austria

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Peter Alexander in The White Horse Inn (1960)

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The White Horse Inn

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