The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52 0f the taxes) has left for Paris So Count Danilo is sent to Paris, to stop her ... See full summary »
Edward Everett Horton
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 »
Against her better judgement, happily married Jill Baker is persuaded to see a popular psychoanalyst about her psychosomatic hiccups. Soon, she's disillusioned about husband Larry; and one ... See full summary »
A young French soldier in World War I is overcome with guilt when he kills a German soldier who, like himself, is a musically gifted conscript, each having attended the same musical ... See full summary »
Lieutenant Niki of the Austrian royal guard has a new girlfriend, Franzi. He's crazy about her and is smiling at her while on duty in the street. King Adolf and his daughter Princess Anna from the neighboring kingdom of Flausenthurm drive by, and Anna intercepts a wink meant for Franzi. She falls for Niki, marries him (he has no choice in the matter), and whisks him off to Flausenthurm. Franzi follows and enjoys a brief affair with Niki before Anna finds out. Franzi, much more experienced in the ways of the world, gives Anna lessons on how to win the affections of her husband. Written by
John Oswalt <firstname.lastname@example.org>
In the latter part of the movie Chevalier bounds up a grand staircase painted to appear as marble but the loud clomp-clomp-clomp of his shoes reveals it to be just wood. See more »
I found, a new, commander to obey. I must report, for duty, right away. She'll never pension me.
Ra-ta, ta-ta-ta, ta-ta-ta, ta...
Toujours, l'amour, in the army...
[Marches back to the bed chamber]
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There is more real sexuality between male and female in five minutes of a Lubitsch musical than in two and a half hours of any average film you're likely to see today. Needless to say, there is no nudity. It's all done with innuendo and the extraordinary degree of energy and physical magnetism that Lubitsch manages to elicit from all his actors. For once in a film, you actually feel that these extremely attractive young people can hardly wait to go to bed with each other, and when they do (off-screen of course) the result is transformative. When they burst out in song, as they do on the slightest provocation in a Lubitsch musical, it is because they are full of emotions they can no longer contain. There's nothing dirty or smutty whatsoever in the Lubitsch Touch, as there is sometimes in the work of his disciple Billy Wilder. Lubitsch's characters explode with life, the joy of being young and in love. There are many great film directors, but not one has ever been able to create the kind of sexual energy that Lubitsch puts into all his films. Silly as the plots may be, mediocre as most of the songs are, his films bristle with the romance and humor of life.
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