A study of the reviews published at the time of the release of Hallo Caesar!, show that contemporary critics were not at all favourable. In fact, the film was considered a hotchpotch of quips, gags and jokes, some of which worked, some which didn’t. The central idea is that of an unemployed music hall artist struggling to make ends meet who desperately seeks to attract the attention of an American impresario, staying at the spa in Karlsbad, with the hope of signing a contract for a season in America. […] In the eyes of a current observer, no longer embroiled in the cultural diatribes and battles of prestige fought by the contemporary critics of specialist magazines such as “Lichtbild-Bühne” or “Kinematograph”, the film constitutes a small discovery, almost an archaeological find. By distancing itself from the art film genre and large-scale film projects, Hallo Caesar! offers a wide-ranging view of a part of Weimar cinema culture that has long since disappeared.

Thomas Elsaesser, in Reinhold Schünzel: Schauspieler und Regisseur, edited by Hans-Michael Bock, Wolfgang Jacobson, Joerg Schöning, München 1989