During World War I, a French girl is romanced by an American doughboy even though she is promised to a French soldier who is fighting at the front. She falls in love with the Yank however ...
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The frothy experiences of a vain little flapper. Her father induces an actor friend to become a gentlemanly cave man and the film becomes another variation of the 'Taming of the Shrew' ... See full summary »
Robert G. Vignola
During World War I, a French girl is romanced by an American doughboy even though she is promised to a French soldier who is fighting at the front. She falls in love with the Yank however out of her commitment to her French soldier she stays with him especially since he returns from the war blind. Do circumstances change so she can follow him to "Second Forty Street" in New York? Musical numbers include "Just You, Just Me." Written by
Ed Lorusso, A.Nonymous
French farm girl MARIANNE has constant difficulties with the American soldiers stationed in her barn after the Armistice.
This film was the starring talkie debut for Marion Davies, one of the most charming and talented actresses of her day. As the mistress of William Randolph Hearst, one of America's most powerful men, Davies probably could have had her pick of roles. In some respects, MARIANNE is an odd choice. There is virtually no action, most of the scenes take place in a kitchen and a barn, and Davies speaks her entire dialogue, often in French, with a very thick accent. But she is so lively and full of joie de vivre, so infectiously good-natured even when angry, even mimicking Chevalier & Bernhardt, and impersonating a young male officer, that she becomes the main reason for watching the film today. It is indeed unfortunate that Marion Davies' gifts have become obscured and her films nearly forgotten.
Lawrence Gray, who had shown much skill as a comic actor during Silent days and had worked with Davies then, here plays the American doughboy who falls for Marion. The funny business is handled by two of MGM's newest acquisitions, Yiddish dialect comedian Benny Rubin and ukulele-playing Cliff Edwards. Marion's noble French boyfriend is enacted by George Baxter.
As with many other early sound films, the movie suffers with too much talk. However, the recurring musical sequences are mostly quite welcome. The opening scene, with its idyllic look at Marion's village, shows the quality of art direction for which MGM was famous.
And pity the poor pig Anatole!
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