6.2/10
152
9 user 4 critic

Her Majesty, Love (1931)

Wealthy man falls in love with a poor girl and proposes to her, going against the wishes of his family.

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(based on a story by) (as R. Bernauer), (based on a story by) (as R. Osterreicher) | 2 more credits »
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Cast

Complete credited cast:
...
...
Fred von Wellingen
...
Bela Toerrek - Lia's Father
...
Baron von Schwarzdorf
...
Otmar
...
Emil
Harry Stubbs ...
Hanneman
...
Uncle Cornelius
Harry Holman ...
Reisenfeld
Ruth Hall ...
Factory Secretary
Mae Madison ...
Elli - Fred's Sister
...
Aunt Harriette
...
Laura Reisenfeld
...
Second Man in Cabaret
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Storyline

The wealthy von Wellingens are shocked when the father of their son Fred's fiancée Lia juggles desserts at a formal dinner. They encourage Fred to break the engagement. Lia goes to Berlin to marry a Baron von Schwarzdorf, and Fred arrives too late to stop the marriage. Written by Ed Stephan <stephan@cc.wwu.edu>

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Taglines:

That merry smile! Those naughty eyes! She's magnetic-she's lovable-She's modern! She changes the wedding march to "There Goes The Bride!" (Print ad- Journal and Republican,(Lowville, N.Y.) 10 March 1932)


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Details

Country:

Language:

Release Date:

15 December 1931 (USA)  »

Also Known As:

Su Majestad El Amor  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Vitaphone production reels #5047-5055. See more »

Quotes

Fred von Wellingen: Come on, Dad. We'll put you at the family table for the present.
Lia's Father: Oh, am I gonna get a present?
See more »

Connections

Featured in W.C. Fields: Straight Up (1986) See more »

Soundtracks

The Wedding March
(1843) (uncredited)
from "A Midsummer Night's Dream, Op.61"
Written by Felix Mendelssohn-Bartholdy
Played by the Cabaret band after the Bridal Chorus
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User Reviews

 
Marilyn Miller's last film - enjoyable but not memorable
28 February 2001 | by (Putney, VT) – See all my reviews

What is most striking about this semi-musical set in 1920s Berlin is the marvelous cinematography and editing. It's top of the line from First National in these departments. The story is mildly engaging and similar to the plots of Miller's other two films (SUNNY, SALLY) where working girl is romanced by rich boy with family disapproval, complications and final clinch. All the four musical numbers are bunched at the beginning of the film and we go for a long stretch without any further musical buoyancy. Miller sings parts of I THINK OF BABY and reprises BECAUSE OF YOU. There are also DON'T EVER BE BLUE and THOUGH YOU'RE NOT THE FIRST ONE.

Miller here is very engaging and delightful, quite reminiscent of Irene Dunne in manner and delivery. Sad she does not dance as that is her forte. SALLY remains her finest film, with this trailing as second and the rather poor SUNNY a vastly inferior runner up. Her life was tragically cut short by a sinus infection before the days when hospitals and antibiotics made such tragedies preventable. It's worth visiting these films though to see Ziegfeld's top star of the twenties.


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