New Moon is the name of the ship crossing the Caspian Sea. A young Lt. Petroff meets the Princess Tanya and they have a ship board romance. Upon arriving at the port of Krasnov, Petroff ... See full summary »
A Vienna based acting couple make magic when they perform together on stage. Unknown to the theater going public and despite being married for only six months, that magic seems no longer to... See full summary »
Louise, a young seamstress, has fallen in love with Julien, her neighbor, a composer who lives a Bohemian life with his friends, artists like him. Her over-possessive working class parents ... See full summary »
New Moon is the name of the ship crossing the Caspian Sea. A young Lt. Petroff meets the Princess Tanya and they have a ship board romance. Upon arriving at the port of Krasnov, Petroff learns that Tanya is engaged to the old Governor Brusiloff. Petroff, disillusioned, crashes the ball to talk with Tanya. Found by Brusiloff, they invent a story about her lost bracelet. To reward him, and remove him, Brusiloff sends Petroff to the remote, and deadly, Fort Darvaz. Soon, the big battle against overwhelming odds will begin. Written by
Tony Fontana <email@example.com>
The plot of this Hammerstein-Romberg operetta worked just fine on the Broadway stage in 1928, but for some incomprehensible reason was relocated by the filmmakers from New Orleans during the French Revolution to Tsarist (!) Russia in some undefined fantasy time period, complete with flagrantly anachronistic 1920's automobiles. The lovers, Lawrence Tibbett and Grace Moore, are vocally superb but physically ill-suited to each other. Although she sings beautifully, Moore looks frumpy, middle-aged and rather sour throughout, and behaves more like her own disapproving aunt than the young princess she is supposed to be playing. It's hard to tell if she is in love with Tibbett or contemptuous of him. Tibbett himself, with his unusually boyish features, nevertheless cuts a commanding figure, making a compelling hero in the military mode. Two of the best-known songs from the piece, "Stouthearted Men" and "Lover Come Back to Me," are given ample screen time. Generally speaking, the tone of the film is light and even tongue-in- cheek, as befits the operetta tradition. But the experience of the Tibbett-Moore duo makes it clear why there was a need for Jeanette MacDonald and Nelson Eddy. The pacing isn't bad (better at the beginning) and the songs occur frequently enough, though after about an hour you just want them to get on with it.
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