3 user

In Gay Madrid (1930)

Passed | | Drama, Musical, Romance | 17 May 1930 (USA)
Ricardo, a young law student in his home town of Madrid, is a carefree playboy who loves nightclubs and courting pretty girls. His father hopes to instill a more serious attitude in his son... See full summary »




(from the novel "La Casa De La Troya") (as Alejandro Perez Lugin), (dialogue continuity) | 2 more credits »


Complete credited cast:
Claude King ...
Marques de Castelar
Doña Generosa (as Eugenia Besserer)
Doña Concha
Nanci Price ...
Herbert Clark ...
David Scott ...
Bruce Coleman ...
Nicholas Caruso ...


Ricardo, a young law student in his home town of Madrid, is a carefree playboy who loves nightclubs and courting pretty girls. His father hopes to instill a more serious attitude in his son by transferring him to a school in the rural town of Santiago. At Santiago, his father's old friend is to be his guardian. When Ricardo arrives at Santiago he joins a fraternity, and continues his carefree lifestyle while serenading and courting his guardian's daughter, Carmina. But when Ricardo's former girlfriend Goyita arrives for a visit, events take a serious turn . . . Written by Thomas McWilliams <tgm@netcom.com>

Plot Summary | Add Synopsis


Drama | Musical | Romance






Release Date:

17 May 1930 (USA)  »

Also Known As:

The House of Troy  »

Box Office


$467,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.20 : 1
See  »

Did You Know?


Version of La casa de la Troya (1959) See more »


Dark Night
(1930) (uncredited)
Music by Herbert Stothart and Xavier Cugat
Lyrics by Clifford Grey
Played on guitar and sung by Ramon Novarro
See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

In Dull Madrid!
24 January 2000 | by (Canberra, Australia) – See all my reviews

Actually only the first few minutes are set in Madrid - the rest is in Santiago!

Watching this early talkie makes me wonder why audiences didn't storm the studios demanding a return to silents. The actors, and the camera, that had once been so free, were now reduced to almost complete immobility. Actors like Novarro, possessed of strong physical abilities, were forced to stand around chatting endlessly in living rooms. Were audiences so captivated by any talking that they didn't notice how poorly written the dialogue was? Only a year earlier they could see Novarro frolicking through coconut groves and swimming the South Seas in "The Pagan" or in a spectacular storm at sea in "Across to Singapore". No such action here - such were the restrictions of early sound recording. No wonder so many people thought talkies were just a fad.

Despite all this Novarro is remarkably good, particularly in the charming and funny scene when he seduces the heroine. His singing is also impressive

  • we often forget what a great singer this "silent" star was. Everyone else
looks lost as they struggle with the dialogue and try to make sense of the shallow and dull plot. And why is it that Novarro is the only character in this Spanish setting with a Spanish accent? Even his father speaks like an Oxford don.

It makes you wonder if MGM was trying to destroy Novarro in the same way they did John Gilbert. It's hard to believe that the excellent Robert Z. Leonard directed this.

One point of interest is the relationship between Novarro's character, Ricardo, and the heroine's brother Ernesto. David Scott, although a very poor actor, certainly plays Ernesto as having a crush on Ricardo. Given the beauty of both men, and what we now know of Novarro's own sexuality, it is possible that there was more sub-text going on here than the writers intended!

7 of 8 people found this review helpful.  Was this review helpful to you?

Contribute to This Page

Create a character page for: