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By Nakamura, Tachibana, Kobayashi

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He listens to the whirling crank of the dough-beater. He picks up the rhythm and begins humming the tune. The crank turns faster, the batter spatters his face, and the melody quickens. ≥≤ Thus, artistic inspiration is fused with working practicalities. Strauss is both musical genius and regular guy—a surefire ‘‘recipe’’ for musical bakers! The film betrays its theatrical origins at times. Its tableau-like character groupings, artificially stylized sets, frontally presented action are quite charming.

Among the adapted Schubert songs, in addition to ‘‘Ave Maria,’’ The Classical Style 25 was ‘‘Song of Love,’’ derived from the second theme of the first movement of the Eighth Symphony, and the celebrated ‘‘Ständchen,’’ or ‘‘Serenade,’’ from the song cycle Schwanengesang. Blossom Time was a spectacular success and ran for 592 performances in its first Broadway run. For years thereafter it crisscrossed the country in numerous touring productions. ’’ By no means coincidentally, this may also be construed as reflecting the situation of the individual filmmaker who works within the collaborative studio system but who strives to exercise a degree of personal creativity.

Gradually, as strains of the music well up on the soundtrack, an elaborate visual montage ensues, consisting of shots of printing presses cranking out the sheet music in many languages, string players performing in the concert hall, and dancers in many ethnic costumes whirling across dance floors. Music like this levels all classes into a delirious democracy of dancers, entranced in common by Strauss’s ‘‘Verzückungswalzer’’ (‘‘Bewitching Waltzes’’). This is reinforced by another of the film’s set pieces, Strauss’s debut at the Dommayer Beer Garden.

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