Kitty Vane, Alan Trent, and Gerald Shannon have been inseparable friends since childhood. Kitty has always known she would marry one of them, but has waited until the beginning of World War... See full summary »
Death decides to take a holiday from his usual business to see what it is like to be a mortal. Posing as Prince Sirki, he spends 3 days with Duke Lambert and his guests at his dukal estate.... See full summary »
This revue presents its numbers around the orchestra leader Paul Whiteman, besides that it shows in it's final number that the European popular music are the roots of American popular music... See full summary »
Mary Barrett is an aspiring Opera singer who is taken under the wings of a famous operatic maestro, Guilio Monterverdi. After spending endless working hours together and arguing, their ... See full summary »
The work of a progressive female psychiatrist and her colleague at a mental hospital is threatened by the arrival of a conservative new supervisor, who disapproves of both her methods and the fact that she is a woman in a "man's field."
Gregory La Cava
Promoter Smoothe King helps a pair of phonies con their way into a movie company. As Wanda heads toward stardom, she turns more and more from King toward the matinée idol. King must decide between his plans and her happiness.
Small town girl meets and falls for a playboy type on a train to New York. For him, the fling is over when they arrive, but she continues to carry a torch. She meets and marries his brother... See full summary »
Gregory La Cava
According to a 1934 newspaper article, Constance Bennett wore 20 costumes in the film. Weighed together, they amounted to 1,000 pounds of wardrobe; The heaviest of Bennett's costumes was 44 pounds, while the rest averaged about 30. See more »
Benvenuto Cellini was a goldsmith in 16th-century Florence, and apparently he was also something of a hell-raiser and a swordsman (in the sexual sense as well as the literal one). However, it's my understanding that we have only Cellini's own memoirs (never published in his lifetime) as testimony of his sexual prowess. Fortunately, some of his artistic creations have survived, and they leave no doubt as to his skill as an artisan.
This movie is based on a play by Edwin Justus Mayer, which also inspired 'The Firebrand of Florence', a musical (with songs by Kurt Weill and Ira Gershwin) that flopped on Broadway in 1945. I wish I could have seen that musical instead of this movie. What's wrong with it? Well, there's lots of sumptuous Hollywood spectacle on view here, which is part of the problem. This is supposed to be 16th-century Italy, but everything is spotlessly clean and everybody has good teeth. Late in the film, we get a glimpse of brawny Dewey Robinson in a Prince Valiant wig, galumphing about as a poncy steward. I was more impressed by Vince Barnett as Cellini's dogsbody assistant, wearing a wig that conceals Barnett's lug-ears.
Some people enjoy Frank Morgan's performance. I don't, largely because he nearly always played a whinnying idiot. Here he's cast as the duke of Florence, who was apparently a whinnying idiot because that's how Morgan plays him. More impressive is Fay Wray, an actress of keen intelligence, who here very convincingly portrays a stupid peasant girl. The jumble of American accents are very annoying in this movie, constantly reminding us that this is 16th-century Florence by way of 20th Century-Fox.
Constance Bennett gets top billing, but the real draw here is definitely Fredric March, who plays Cellini in full swashbuckler mode. March's stunt double makes an impressive entrance through the ceiling. The sets and costumes throughout this film are elaborate and impressive, as is the camera work. Still, this is one of those annoying movies in which the hero is the only 'real' man, who invariably comes up trumps in every encounter. I'll rate this movie 6 out of 10. It probably would have been a better movie if the duke had been played by Ralph Morgan, a much better (and more versatile) actor than his brother Frank
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