Minutes before her wedding to Duke Otto Von Seibenheim, Countess Helene Mara flees, on a whim, to Monte Carlo, where she hopes her luck will save her poor financial state. There, Count ... See full summary »
Minutes before her wedding to Duke Otto Von Seibenheim, Countess Helene Mara flees, on a whim, to Monte Carlo, where she hopes her luck will save her poor financial state. There, Count Rudolph Farriere is taken by her beauty, but she rebuffs him, not even looking at him. Assuming the guise of a hairdresser, he finally succeeds in seeing her, night and morning. Sparks fly, and love ensues - but can she love a lowly hairdresser? As her finances worsen though, the Duke arrives, and his money and social status seem even more enticing. Shunning Rudolph, will her story follow the operatic "unhappy ending", or can she have it all? Written by
One of over 700 Paramount productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
Jeanette MacDonald is referred to as a blonde early on in the dialogue. She was actually a redhead, and no attempt was made to lighten her hair to make her look blonde. Her hair photographed the dark grey red hair usually reproduced as on the black-and-white film used in 1930. See more »
The world of Jeanette MacDonald fandom is divided into two groups: those who love her early films, usually with Maurice Chevalier as her co-star (though in this case she got Jack Buchanan instead) and sophisticated directors like Ernst Lubitsch and Rouben Mamoulian, and those who swear by her eight films with Nelson Eddy that followed. Count me in as part of the first group (though there are some quite good MacDonald=Eddy films, especially "Maytime" and "Sweethearts"). "Monte Carlo" isn't at the level of "The Love Parade" or "Love Me Tonight," and frankly it would have been more fun with Chevalier in the male lead (Jack Buchanan is a bit too stuck-up for his character, and for some reason Lubitsch didn't give him an opportunity to dance, at which he was good enough that in 1930 he was considered a rival to his future "Band Wagon" co-star Fred Astaire), but it's still a great movie, with plenty of the famous Lubitsch "touches" (the torrential rain in the opening wedding scene, the use of peasants MacDonald's train is passing by as her backing singers, the clock that features statues of musicians with different instruments playing one of the score songs) and an overall insouciance and sophistication far, far above the plodding retreads of old operettas that constitute most of the MacDonald-Eddy films. Thank you, Eclipse, for finally giving me a chance to see this!
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