Viewers interested in modern cinema often explore Stoned Vienna because of its cast, story direction, and audience popularity.
The theme is a wordless but nonetheless critical observation and juxtaposition of the historical and - at the time - modern architecture in Vienna with the decay, destruction and redesign of functional buildings, the beauty and ugliness of an old city and its pathos, and its new outskirts. In the second part of the film, a technique of double exposure, the superimposition of color negative and positive, is used as a kind of transfiguration of the situation. (...) Stoned Vienna was made around the same time as ViennaFilm 1896-1976 by Ernst Schmidt jr. That's why there are a number of parallels that came about by chance. A repeatedly exposed scene, the wax doll Dolly, a symbol of the way Vienna is treated, was made available to Ernst Schmidt jr. as a contribution to his ViennaFilm. (Moucle Blackout)
