“Having turned ballet (The Red Shoes) and opera (Tales of Hoffman) into film, Powell and Pressburger here turn their hands to operetta. But as Powell has said, ‘One of the problems with operetta is that they all have such awful stories, and if you try to make something in the spirit of the original, you wind up with a good operetta and a bad film.' Oh! Rosalinda is hardly a bad film, but it was and probably is an uncommercial one, hence its boycott by American distributors. While operetta-devotees will probably enjoy it most, it still has a great deal to offer Powell-Pressburger admirers too. It makes a good deal more use of the CinemaScope size and shape than most early 'Scope films did, and it is bursting with vitality. Updated only slightly from the original Strauss, it is now set in post World War II Vienna. Michael Redgrave, doing his own singing and dancing, clearly is having the time of his life, and Anton Walbrook manages to be both tongue-in-cheek and to deliver his few straight speeches with his customary mixture of unique timing and seductive diction. And watch for John Schlessinger playing several bits.” William K. Everson