Composer Johann Strauss (Horst Buchholz) becomes the 'Waltz-King' and woos a baron's (Rossano Brazzi) mistress (Mary Costa) in 19th-century Austria. Get more done with the new Google Chrome. A more simple, secure, and faster web browser than ever, with Google’s smarts built-in. Devices and Mac OS X version. VLC media player requires Mac OS X 10.7.5 or later. It runs on any Mac with a 64-bit Intel processor or an Apple Silicon chip. Previous devices are supported by older releases. Note that the first generation of Intel-based Macs equipped with Core Solo or Core Duo processors is no longer supported.
Based, very loosely, on the life of composer Johann Strauss II, the first Great Waltz Echoes+ (itch) mac os. was a successful stage musical, debuting on Broadway in 1934. Using Strauss’ music, the production had lyrics by Desmond Carter. MGM announced that they were planning a film version of Strauss’ life as early as 1935, with Nelson Eddy in the lead role. After much consideration they finally admitted that the project was on hold until a suitable operatic lead could be found to play opposite their leading man. By the time filming began in May 1938 a new book and lyrics had been commissioned by Oscar Hammerstein II, Fernand Gravet had replaced Eddy and Miliza Korjus had been ‘discovered.’ The film was released on 4th November 1938 and was a box office hit, receiving three Oscar nominations: Editing, Best Supporting Actress (Miliza Korjus) and Cinematography (Joseph Ruttenberg, who was the film’s only winner). The film was a popular re-issue, revisiting cinemas in the US in 1947, and across Europe in the late 1940s and early 1950s. In 1943 the BBC broadcast a radio adaptation by Harry Alan Towers, which included “the voices of the original stars” using archive material from the film. It was a particular success in Australia where it played in Sydney and Melbourne for two years upon its original release. A classic musical romance the film is gorgeous to look at with sumptuous set and costume design perfectly blended with the music of Strauss (adapted by Dimitri Tiomkin) and the new musical numbers. That the film takes huge liberties with the truth is a shame, but MGM weren’t going to let historical accuracy get in the way of a good old-fashioned romp in the Vienna woods.
Strauss was born into a musical family in Vienna in 1825, and followed in his father’s footsteps as a composer of dance music and operettas, despite Strauss Sr’s wish that he become a banker. His two brothers, Josef and Edward, also made a name for themselves as composers, but neither were as successful. He is perhaps best known as ‘The Waltz King’ and is regarded as being largely responsible for the popularty of that particular dance throughout Austria in the 19th century. In the film, Luise plays the entirely fictitious Poldi Vogelhuber, Strauss’ wife; in fact Strauss married three times, first to the singer Jetty Treffz (d. 1878), then to the actress Angelika Dittrich and finally to Adele Strauss (no relation). It isn’t clear why MGM deemed it neccessary to change these details as, within his three marriages there is enough material for a sensational biopic. Strauss died of pneumonia in June 1899, aged 73.
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MGM’s take on his life differs somewhat from the actual events. Here, Strauss is a banker who is fired after being discovered composing a waltz whilst on duty. Not disheartened, he uses his free time to concentrate on music, with the backing of his sweetheart, Poldi, the daughter of a baker. One day, whilst visiting Poldi’s father’s bakery he is offered a chance to perform in an orchestra with Kienzl, one of the bakers, who suggests they should put a show together for a local café, Donnmayer’s. The orchestra aren’t received well by the café’s customers, but just as they are about to give up two stars of the Imperial Opera, Fritz Schiller and Carla Donner, arrive and request that the orchestra play for them. The café is soon packed and people start to dance in the streets (the way they do in musicals). Carla offers Strauss an invitation to a party hosted by Count Hohenfried where she controversially performs one of Strauss’ waltzes (they are considered rather working class by many of her opera friends) and she wins over the crowd, including the music publisher, Julius Hofbauer. But Strauss senses that neither the Count nor Carla have really taken him seriously as a composer and that he is being shown off like a new toy to amuse their friends. He leaves the party and determines to marry his sweetheart, Poldi, which he does so shortly afterwards. During the course of all these shenanigans a subplot is brewing; a revolution has been growing across the city and, coincidentally, one of Strauss’ marches becomes an anthem; it is during one such march that Strauss rescues Carla from a carriage surrounded by revolutionaries and they escape through the Vienna Woods (composing his famous Tales from the Vienna Woods waltz along the way). The revolution fails and Strauss decides he will leave Vienna with his wife, but he has grown closer to Carla and when he is commissioned to write an opera for her he stays and they fall further in love with each other. Poldi, who has remained silent about her husband’s love for Carla does not attend the opening. But the Count urges Poldi to go to the Opera House and stop the affair; she does so, but, upon seeing his triumph she offers to sacrifice her marriage as she cannot inspire him the way that Carla does. Carla, however, cannot accept this and leaves without Strauss. In the years to follow Strauss achieves worldwide fame and countless honours, with his wife by his side.
The Great Waltz looks and sounds gorgeous, but is light on drama and common sense. It was a commercial success, although some critics were less than impressed with the liberties taken story-wise. One of the now infamous scenes shows Strauss composing his famous waltz Tales from the Vienna Woods – whilst riding in a carriage through said woods he is inspired by the movement and sounds and virtually composes the piece on the spot! Once again MGM looked to their European stars to bring the film to life, and it’s a testament to the influence of that continent’s culture at the time that the top three stars are all from across the Atlantic, along with the French director, Julien Duvivier. Luise was given top billing at the insistence of the producers, her name still enough to draw the crowds after her double Oscar triumph. In this film, however, her role is much smaller than previous outings, but she still maintains the heart of the film and reins in some of the excess with a measured and perfectly nuanced performance which stands out against the showy lead roles. The star of the film is undeniably the newcomer Miliza Korjus (advertising for the film carried the tagline ‘…pronounced ‘gorgeous’ ‘), a popular Polish opera singer who, much like Luise, was spotted performing in Europe and offered a contract with MGM. Her Oscar nomination is rare, one of the few singers so honoured by the Academy with an acting nod. In 1940, just before she was due to start filming her second picture, based on the life of the Hungarian folk-hero Sandor Rosza, she was badly injured in a car accident. Her recovery, and the impact of the Second World War, curtailed her film career. She recovered sufficiently enough to return to the stage in 1944 and continued to make concert appearances before retiring from singing in 1952. She died in California in August 1980. As Strauss, the Belgian actor Fernand Gravet (according to publicity ‘…pronounced ‘Gravy’ ‘) made his MGM debut. Already a star of some European and British films, he had come to America in the mid 1930s. He left soon afterwards, in 1939, and didn’t make another American film for 30 years, instead spending the war years and beyond in France. His singing voice was dubbed by Earl Covert and Ralph Leon, and the Russian virtuoso violinist Toscha Seidel was hired to dub Gravet’s playing scenes. He was a reliable leading man in European features and returned to the US in 1966 for How To Steal A Million. He died in Paris in 1971, aged 64.
Luise gives the film its heart and Poldi is the character with whom we sympathise throughout; once again she brings life to another stoical character who watches, helpless, as her husband is taken away from her. Her scene at the opera, where she goes backstage to congratulate Strauss and Carla Donner is almost a repeat of her famous ‘telephone scene’ in The Great Ziegfeld (1936) as she smiles through the heartache then rushes out into the street, tears streaming down her face. The film is masterfully directed by Julien Duvivier one of French cinema’s greatest directors, with a career stretching from silent cinema through to award-winning success at the Venice Film Festival in 1951. Some of the film was also shot by Austrian director Josef von Sternberg, and Victor Fleming directed supplementary scenes. Von Sternberg, in particular, was brought into the production late in the day to redirect parts of the film; in an interview with Bob Thomas in 1983 Luise says she “made the film twice” as “Duvivier was replaced because he was more interested in me than the other stars, and it had become the story of Mrs. Johann Strauss.”
Cast:
Luise Rainer as Poldi Vogelhuber
Fernand Gravet as Johann Strauss II
Miliza Korjus³ as Carla Donner
Hugh Herbert as Julius Hofbauer, Music Publisher
Lionel Atwill as Count Anton Hohenfried
Curt Bois as Kienzl
Leonid Kinskey as Dudelman
Al Shean as the Cellist
Minna Gombell as Mrs Hofbauer
George Houston as Fritz Schiller
Bert Roach as Vogelhuber
Herman Bing as Otto Dommayer
Alma Kruger as Mrs. Srauss
Henry Hull as Emperor Franz Josef
Sig Rugmann as Wertheimer, the Banker
Christian Rub as the Coachman
Uncredited roles: Ernie Alexander, Zita Baca, Eddie Conrad, Luke Cosgrave, Sidney D’Albrook, Loretta deLone, Joe de Stefani, George du Count, Jerry Fletcher, Bess Flowers, Christian J. Frank, Betty Fraunfelder, Ruth Fraunfelder, William Fraunfelder, Arno Frey, Boyd Gilbert, Wesley Giraud, Art Hamburger, Max Hoffman Jr., Has Joby, Edward Keane, Ben Lewis, Jane Loofbourrow, George Magrill, Albert Mahler, Anthony Marlowe, Frank Mayo, Mira McKinney, John Merton, Torben Meyer, Howard M. Mitchell, Sue Moore, Ferdinand Munier, Russ Powell, The Robert Mitchell Boys’ Choir, Bodil Rosing, Walter Sande, Ralph Sanford, Brent Sargent, Lester Sharpe, Larry Steers, Gertrude Sutton, Phillip Terry, Ellinor Venderveer, Roland Varno, Paul Weigel, Henry Zynda
Luise Rainer as Poldi Vogelhuber
Fernand Gravet as Johann Strauss II
Miliza Korjus³ as Carla Donner
Hugh Herbert as Julius Hofbauer, Music Publisher
Lionel Atwill as Count Anton Hohenfried
Curt Bois as Kienzl
Leonid Kinskey as Dudelman
Al Shean as the Cellist
Minna Gombell as Mrs Hofbauer
George Houston as Fritz Schiller
Bert Roach as Vogelhuber
Herman Bing as Otto Dommayer
Alma Kruger as Mrs. Srauss
Henry Hull as Emperor Franz Josef
Sig Rugmann as Wertheimer, the Banker
Christian Rub as the Coachman
Uncredited roles: Ernie Alexander, Zita Baca, Eddie Conrad, Luke Cosgrave, Sidney D’Albrook, Loretta deLone, Joe de Stefani, George du Count, Jerry Fletcher, Bess Flowers, Christian J. Frank, Betty Fraunfelder, Ruth Fraunfelder, William Fraunfelder, Arno Frey, Boyd Gilbert, Wesley Giraud, Art Hamburger, Max Hoffman Jr., Has Joby, Edward Keane, Ben Lewis, Jane Loofbourrow, George Magrill, Albert Mahler, Anthony Marlowe, Frank Mayo, Mira McKinney, John Merton, Torben Meyer, Howard M. Mitchell, Sue Moore, Ferdinand Munier, Russ Powell, The Robert Mitchell Boys’ Choir, Bodil Rosing, Walter Sande, Ralph Sanford, Brent Sargent, Lester Sharpe, Larry Steers, Gertrude Sutton, Phillip Terry, Ellinor Venderveer, Roland Varno, Paul Weigel, Henry Zynda
Crew:
Directed by Julien Duvivier¹
Story by Gottfried Reinhardt
Screen Play by Samuel Hoffenstein and Walter Reisch with uncredited contributions from Vicki Baum
Produced by Bernard H. Hyman (uncredited)
Assistant Director: Robert A. Golden (uncredited)
Second Unit Director: Robert Rosson (uncredited)
Cinematography by Joseph Ruttenberg² Edited by Tom Held³
Art Direction by Cedric Gibbons
Associates: Paul Groesse and Edwin B. Willis
Gowns by Adrian
Miss Korjus’ hair stylist: Sydney Guilaroff
Sound Recording Director: Douglas Shearer
Dances and ensembles directed by Albertina Rasch
Musical Director: Arthur Gutmann
Orchestration by Paul Marquart
Strauss’ music adapted and aranged by Dimitri Tiomkin
Dialogue directed by Eric North (uncredited)
Vocal stand-in for Miss Korjus: Alice Mock (uncredited)
Violin stand-in for Mr. Gravet: Toscha Seidel (uncredited)
Voice doubles for Mr. Gravet: Earl Covent and Ralph Leon (uncredited)
Directed by Julien Duvivier¹
Story by Gottfried Reinhardt
Screen Play by Samuel Hoffenstein and Walter Reisch with uncredited contributions from Vicki Baum
Produced by Bernard H. Hyman (uncredited)
Assistant Director: Robert A. Golden (uncredited)
Second Unit Director: Robert Rosson (uncredited)
Cinematography by Joseph Ruttenberg² Edited by Tom Held³
Art Direction by Cedric Gibbons
Associates: Paul Groesse and Edwin B. Willis
Gowns by Adrian
Miss Korjus’ hair stylist: Sydney Guilaroff
Sound Recording Director: Douglas Shearer
Dances and ensembles directed by Albertina Rasch
Musical Director: Arthur Gutmann
Orchestration by Paul Marquart
Strauss’ music adapted and aranged by Dimitri Tiomkin
Dialogue directed by Eric North (uncredited)
Vocal stand-in for Miss Korjus: Alice Mock (uncredited)
Violin stand-in for Mr. Gravet: Toscha Seidel (uncredited)
Voice doubles for Mr. Gravet: Earl Covent and Ralph Leon (uncredited)
¹some scenes and retakes attributed to Victor Fleming and Joseph von Sternberg
²Academy Award winner
³Academy Award nomination
²Academy Award winner
³Academy Award nomination
Further reading:
Remembering Miliza Korjus and MGM’s “The Great Waltz” (1938)by Sean Martinfield
Remembering Miliza Korjus and MGM’s “The Great Waltz” (1938)by Sean Martinfield
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These advanced steps are primarily for system administrators and others who are familiar with the command line. You don't need a bootable installer to upgrade macOS or reinstall macOS, but it can be useful when you want to install on multiple computers without downloading the installer each time.
What you need to create a bootable installer
- A USB flash drive or other secondary volume formatted as Mac OS Extended, with at least 14GB of available storage
- A downloaded installer for macOS Big Sur, Catalina, Mojave, High Sierra, or El Capitan
Download macOS
- Download: macOS Big Sur, macOS Catalina, macOS Mojave, or macOS High Sierra
These download to your Applications folder as an app named Install macOS [version name]. If the installer opens after downloading, quit it without continuing installation. To get the correct installer, download from a Mac that is using macOS Sierra 10.12.5 or later, or El Capitan 10.11.6. Enterprise administrators, please download from Apple, not a locally hosted software-update server. - Download: OS X El Capitan
This downloads as a disk image named InstallMacOSX.dmg. On a Mac that is compatible with El Capitan, open the disk image and run the installer within, named InstallMacOSX.pkg. It installs an app named Install OS X El Capitan into your Applications folder. You will create the bootable installer from this app, not from the disk image or .pkg installer.
Use the 'createinstallmedia' command in Terminal
- Connect the USB flash drive or other volume that you're using for the bootable installer.
- Open Terminal, which is in the Utilities folder of your Applications folder.
- Type or paste one of the following commands in Terminal. These assume that the installer is in your Applications folder, and MyVolume is the name of the USB flash drive or other volume you're using. If it has a different name, replace
MyVolume
in these commands with the name of your volume.
Big Sur:*
Catalina:*
Mojave:*
High Sierra:*
El Capitan:
* If your Mac is using macOS Sierra or earlier, include the
--applicationpath
argument and installer path, similar to the way this is done in the command for El Capitan.After typing the command:
- Press Return to enter the command.
- When prompted, type your administrator password and press Return again. Terminal doesn't show any characters as you type your password.
- When prompted, type
Y
to confirm that you want to erase the volume, then press Return. Terminal shows the progress as the volume is erased. - After the volume is erased, you may see an alert that Terminal would like to access files on a removable volume. Click OK to allow the copy to proceed.
- When Terminal says that it's done, the volume will have the same name as the installer you downloaded, such as Install macOS Big Sur. You can now quit Terminal and eject the volume.
Use the bootable installer
Determine whether you're using a Mac with Apple silicon, then follow the appropriate steps:
Apple silicon
- Plug the bootable installer into a Mac that is connected to the internet and compatible with the version of macOS you're installing.
- Turn on your Mac and continue to hold the power button until you see the startup options window, which shows your bootable volumes.
- Select the volume containing the bootable installer, then click Continue.
- When the macOS installer opens, follow the onscreen instructions.
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- Plug the bootable installer into a Mac that is connected to the internet and compatible with the version of macOS you're installing.
- Press and hold the Option (Alt) ⌥ key immediately after turning on or restarting your Mac.
- Release the Option key when you see a dark screen showing your bootable volumes.
- Select the volume containing the bootable installer. Then click the up arrow or press Return.
If you can't start up from the bootable installer, make sure that the External Boot setting in Startup Security Utility is set to allow booting from external media. - Choose your language, if prompted.
- Select Install macOS (or Install OS X) from the Utilities window, then click Continue and follow the onscreen instructions.
Learn more
The Great Waltz Mac Os X
A bootable installer doesn't download macOS from the internet, but it does require an internet connection to get firmware and other information specific to the Mac model.
The Great Waltz Mac Os Download
For information about the
createinstallmedia
command and the arguments you can use with it, make sure that the macOS installer is in your Applications folder, then enter the appropriate path in Terminal: