The Tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. It represents the percentage of professional critic reviews that are positive for a given film or television show.
From the Critics
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The Tomatometer is 60% or higher.
The Tomatometer is below 60%.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Descended from ten generations of European circus clowns, Anton Walbrook learned the rudiments of acting under such masters as Max Reinhardt. On stage from his teens, Walbrook first performed before the cameras in the 1922 German serial Mater Dolorosa. He hit his stride as a matinee idol in the early-talkie period, starring in such Mittel-European productions as Viktor und Viktoria (1933) and Maskerade (1933). He made his American film debut in a roundabout manner. When RKO Radio Pictures decided to utilize generous stock footage from Walbrook's French/German film Michael Strogoff (1937) for their own The Soldier and His Lady (1937), the actor was hired to reshoot his scenes in English. Walbrook was cast as Prince Albert in his first British film, Victoria the Great (1937), a characterization he repeated in Sixty Glorious Years (1938). His British popularity was cemented by his suavely villainous portrayal of the wife-murdering protagonist ("Zee roobies...zee roobies...") in the 1939 version of Gaslight. In the 1940s, Walbrook was virtually adopted by the production team of Michael Powell and Emeric Pressburger. He played the Paderewski-inspired Polish concert pianist in Dangerous Moonlight (1941), the Czech-Canadian patriot in 49th Parallel (1941) and German officer Theodor Krestchmer-Schuldorf (a surprisingly likable portrayal of a wartime enemy) in The Life and Death of Colonel Blimp (1943). The most famous of his Powell-Pressburger assignments was the showcase role of ruthless (but ultimately sympathetic) ballet impresario Boris Lermontov in The Red Shoes (1948). In the 1950s, Walbrook brilliantly essayed a brace of roles for director Max Ophuls: the worldly-wise "raconteur" in La Ronde (1950) and the ageing, foolhardy Ludwig I of Bavaria in Lola Montes. Anton Walbrook's last screen role was Major Esterhazy in I Accuse, a 1957 version of "l'affair Dreyfuss"; he then retired with such finality that many assumed he'd died long before his actual passing in 1967.
You're a magician to have produced all this in three weeks from nothing.
My dear, not even the best magician can produce a rabbit out of a hat if there is not already a rabbit on the hat.
Don't forget, a great impression of simplicity can only be achieved by great agony of body and spirit.
You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never.
Why do you want to dance?
Why do you want to live?
Well I don't know exactly why, er, but I must.
That's my answer too.
You can't alter human nature.
No? I think you can do even better than that. I think you can ignore it.
But because I am mad, I hate you. Because I
am mad, I have betrayed you. And because I'm
mad, I'm rejoicing in my heart, without a
shred of pity, without a shred of regret,
watching you go with glory in my heart!