Walter Pidgeon (Colonel Nicobar), Ethel Barrymore (mother superior), Peter Lawford (Major McPhenister), Janet Leigh (Maria), Angela Lansbury (Quail), Melville Cooper (Sergeant Moonlight), Louis Calhern (Colonel Piniev), Francis L. Sullivan (Colonel Omicron), Robert Coote (Brigadier Cathlock), Alan Napier (the general), Roman Toporow (Lieutenant Omansky), Tamara Shayne (Helena Nagard), Konstantin Shayne (Bruloff), Janine Perreau (Mickey Mouse), Victor Wood (aka David Hydes) (Lieutenant Guedalia-Wood), Geoffrey Alan (major), Argentina Brunetti (Italian woman), Kasia Orzazewski (Sister Kasmira), Margo Von Leu (Lani Hansel), John Royce (sergeant at rehearsal), Carol Savage (Private Jemima), Tito Vuolo (Italian bill-poster), Audey Long (Countess Cressanti), Doris Lloyd (Mrs Omicron), Lotus Thompson (female private), Emil Rameau (proprietor), Henry Kulky (Russian lieutenant), Kenneth Hunter (the brigadier- general), Sigmund Halperon (a German), Richard Fraser (the transport checking officer).Director: GEORGE SIDNEY. Screenplay: Gina Kaus, Arthur Wimperis. Based on the 1947 novel Vespers in Vienna by Bruce Marshall. Photography: Charles Rosher. Film editor: James E. Newcom. Art directors: Cedric Gibbons and Hans Peters. Set decorators: Edwin B. Willis and Hugh Hunt. Costumes designed by Helen Rose. Make-up: Jack Dawn. Hair styles: Sydney Guilaroff. Special effects: Warren Newcombe. Camera operator: John M. Nickolaus, jr. Music composed by Miklos Rozsa, orchestrated by by Eugene Zador. Sound supervisor: Douglas Shearer. Producer: Carey Wilson.Copyright 29 September 1949 by Loew's Inc. A Metro-Goldwyn-Mayer Picture. New York opening at the Capitol: 8 December 1949. U.S. release: 14 October 1949. U.K. release: 17 April 1950. Australian release: 18 May 1950. 10,689 feet. 118 minutes.SYNOPSIS: Seeking refuge in postwar Vienna, a young ballerina is determined not to be repatriated to her Communist homeland.NOTES: Nominated for an Academy Award for black-and-white Art Direction, Cedric Gibbons, Hans Peters, Edwin B. Willis and Hugh Hunt, lost to Sunset Boulevard.COMMENT: Although here it serves as a blatantly biased piece of hysterical anti-Communist propaganda, the plight of displaced persons in postwar Vienna seems a worthy enough theme. Indeed it was treated with both realism and stunning power in :The Third Man" (1949). Unfortunately, however, the characters of The Red Danube form a medley from musical comedy and gaslight melodrama. In real life, Colonel Nicobar would have faced a court martial and Colonel Piniev a firing squad, whilst the Mother Superior would have been drummed out of every convent this side of heaven. And while Hollywood may fondly imagine that brass hats are all comedic morons, they are definitely not akin to the amusing cretins depicted here by Messrs Robert Coote and Francis L. Sullivan. In all, it is difficult to name a less credible tale served up under the guise of realistic fiction. Yet, thanks to director George Sidney's skill, abetted by some fine photography and excellent sets, certain scenes do come across with undeniable force.

This film is an anti-communist melodrama ,but in the light of recent events,who could blame the script writers.In 1993,Robert Enrico made "Vent D'Est " another anti-communist work : Russian soldiers and their families who had rebelled against Stalin took refuge in Liechenstein ;When the communists came to claim their compatriots,they promised them the moon ,just like the officer promised a bright future to Janet Leigh (prima ballerina in Moscow Ballets).Most of the poor lads followed them and were killed on the train en route to their native land.Religion does not walk hand in hand with communism ,and "the red Danude" takes place,most of the time,in a convent.But he made Barry Fitzgerald an atheist who lost his faith when his dear son was killed in action.He and Ethel Barrymore (in a sensational part of a mother superior with a big heart) are an unforgettable pair that may have inspired his "Heaven knows ,Mister Allison" to John Huston (1956).My favorite scene is on the train,when the starving people break into "Stille Nacht ,Heilige Nacht " on Christmas night.Sidney knows how to make the most of his effects.The death of Janet Leigh is a good example of ellipsis.And Sidney does not forget a comic relief: the way Angela Landsbury got fired by Francis L Sullivan (in a part as vile as in Dassin's "night and the city" ) is very funny.

I liked this movie very much; it resonated clearly. I grew up during the 2nd WW, and the aftermath was often a mystery; this relates to that time vis-a-vis Russia and her ex-patriots. This is not a formula movie; we care about the main characters and it really reaches to the heart. The points the script made about our choices in life were well made, and the reference to religion was fair. I'm going to use the metaphoric model of the painter, paint, ladder and ceiling in my own work. The actors were wonderful, and the camera work was exceptional at getting to the feelings that shine through the face. The lighting was part of that effect. I knew something was up when I saw the close-ups with artistic lighting, but I didn't know how strongly they would tie to later scenes and evoke emotions. This added to our caring about the sweet innocent Janet Leigh, and the young, idealistic Peter Lawford. I didn't agree with all the philosophy, but it certainly was mostly a tribute to listening to the conscience.

I found the film captivating. It addresses subjects such as faith and morality, and the conflict between being both a soldier and a human being. It gives no easy answers. It presents a piece of history rarely shown in film, and attempts to side-step making everything black and white. Yet The Red Danube is, foremost, good entertainment, a tale of love in the midst of war. Focusing on entertainment is necessary in the entertainment business, and the film does it well, with a few gratifying twists, too. Walter Pigeon and Ethel Barrymore are their grandest dignified selves. Sometimes its nice to be able to be reminded what that is. Interesting to note that Ethel Barrymore was seventy years old when making this film.