Plot
In Vienna in 1914, Prince Nicki is the scion of a rundown noble family rundown and is commander of a cavalry regiment.
During a parade in front of the St. Stephen's Cathedral Nicki notices Mitzi in the crowd. Mitzi is eating with her family as her fiance Shani grotesquely spits and embarrasses the entire family. Nicki and Mitzi flirt with each during the parade. During a gun salute Nicki's horse becomes afraid and injures Mitzi, who is sent to the hospital. Nicki also has Shani arrested at this time. Nicki visits Mitzi at the hospital and later in the pub where she works as a harpist. They begin to go on dates and fall in love.
Because of the families financial troubles, Nicki is approached by a wealthy factory owner to marry his daughter Cecilia in exchange for a noble title. Nicki initially refuses but finally agrees to marry Cecilia. Shani is released from prison and finds out about the relationship between Mitzi and Nicki. Shani shows Mitzi a newspaper article announcing the marriage of Nicki and Cecilia. Mitzi remains calm and tells Shani that she hates him and still loves Nicki. Enraged Shani tries to rape Mitzi, but his father prevents it at the last moment. Shani decides to murder Nicki after the wedding.
The marriage of Nicki and Cecilia is celebrated. Shani is waiting for Nicki with a gun at the church. At the last moment Mitzi appears and promises to marry Shani if he does not kill Nicki. Nicki and Cecilia get into their the coach and drive away.
Read more about this topic: The Wedding March (1928 Film)
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)