The Blue from the Sky

Original title: Das Blaue vom Himmel

1932
1h 17m

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Mártha Eggerth in The Blue from the Sky (1932)

Anni happily starts working as underground ticket seller. A passenger in a rush leaves owing part of the ticket. He happens to be a postal service night pilot. He pays his debt and they star... Read allAnni happily starts working as underground ticket seller. A passenger in a rush leaves owing part of the ticket. He happens to be a postal service night pilot. He pays his debt and they start dating, in spite of their opposite schedules.Anni happily starts working as underground ticket seller. A passenger in a rush leaves owing part of the ticket. He happens to be a postal service night pilot. He pays his debt and they start dating, in spite of their opposite schedules.

See production info at IMDbPro

IMDb RATING

6.7/10

YOUR RATING

See production info at IMDbPro

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Trivia
'Márta Eggerth' finally saw the film for the first time in 2010 when the Museum of Modern Art in New York included it as part of the Weimar Cinema: 1913-33 season, the announcement of her presence drawing gasps of amazement from the audience. Touchingly, she was still able to hum along to the music.

Connections
Referenced in Sunset Boulevard (1950)

Soundtracks
Einen Tag möcht ich bei dir sein
Music by Paul Abraham
Sung by Mártha Eggerth and Hermann Thimig

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Review

Featured review

7/10

Marta's a charmer

Saw a rare print of this German musical at MOMA yesterday, and darned if Marta Eggerth, its then-19-year-old star, wasn't there to enjoy it. She's a spry and vivacious 98, and informed us that 1) she'd never seen it (she was so busy back then) and 2) the kiss from her leading man was her first-ever. It's a slight and charming musical, with only two real songs, endlessly repeated, and a few distinct Billy Wilder witticisms in its unremarkable screenplay. Marta's the bright-eyed working girl, a subway ticket vendor, pursued by a pilot and a workmate, who in turn is loved by a cigarette girl who works above ground. They're all nice company, there are some splendid shots of Weimar Berlin -- the director and DP, not major talents, liked to wield a fluid camera -- and there's a bit of a Rene Clair feel to it, and not a hint of the disaster about to hit the Republic. Marta's soprano is absolutely lovely, as is her personality. I suppose most Americans who know her at all know her from her other-woman role in "For Me and My Gal." She's very different here, and altogether winning.