“The film is based on a popular novel by Sophus Michaelis, already brought to the screen in 1914 by August Blom; in 1937 Hans H. Zerlett made a third version.
Revolutionshochzeit was made in the sphere of an international production that reunited the Germans, Danes, Swedes and Italians, by Anders Wilhelm Sandberg (1887-1938), the prolific Danish director of adventure films during the silent era and author of a delicate Klovnen (1916), highlighted by Valdemar Psilander’s performance. He directed serveral adaptations of novels by Dickens (The Little Dorrit, Great Expectations, David Copperfield, Our Mutual Friend) with which Nordisk, after the world war, sought in vain to reconquer the international market.
Raul Quattrocchi wrote in Kines (n.10 of March 17th, 1929): ‘First and foremost we admire the courage of the scriptwriter and the producer for making this film without hesitation. We say this because the film does not have a happy ending, and because it truly deserves the most unconditional eulogy and the most sincere admiration to make such a film in an epoch where scriptwriters and producers prefer to satisfy the public with cheap effects. The conclusion of Revolutionshochzeit is therefore dramatic; but it is a drama that pushes the limits of humanity; it is based on a dramaticism that almost seems deliberate. In fact, it almost seems that the author had it colored on purpose with violently darkened contrasts, as though to protest against the prevailing tendency of the happy ending. He did well, even if the equilibrium of the film was in part lost.
Revolution Hochzeit is, substantially, an excellent film. Montaloup’s figure – that would have to be the expression of the danger of the revolutionary period that the film illustrates- is observed from a point of view that is perhaps too optimistic, but in compensation it is eminently rendered by Fritz Kortner. Between the actors – the good and the excellent ones – Diomira Jacobini is the least convincing’”. (Vittorio Martinelli)