The Cat and the Fiddle (1934) User Reviews

Ramon and Jeanette, an unlikely team

[blanche-2 · 6/10 · 14 June 2011]

Silent screen star Ramon Novarro teams up with Jeanette MacDonald in "The Cat and the Fiddle," a 1934 musical film. The film also stars Jean Hersholt, Frank Morgan, and Vivienne Segal.

The story concerns two songwriters, one from a classical background, Victor Florescu (Novarro, and one assumes from that last name, he's from Roumania), and Shirley Sheridan (MacDonald) a young woman from a popular songwriting background who meet. He falls madly in love with her, even turning down a major opportunity with an impresario (Morgan) who turns out to be more interested in Jeanette as a girlfriend.

Eventually Victor wins over Shirley, and the two move in together. Now, I thought the code came in earlier than this, but it appears I'm wrong. I was very surprised when later in the movie, she suggests that they get married because I thought they already were.

Her song becomes a huge hit. Eventually he succumbs to the impresario's pressure to get him out of the picture by breaking up with Shirley. He is convinced that he is holding her back. Victor then gets a big opportunity when a star (Segal) agrees to appear in his operetta. When he refuses to be seduced by her, her husband gives her a choice, the operetta or him, Mr. Money Bags, and she leaves with her husband. Now he's stuck, and he owes money to boot.

This film ran something like one hour and thirty minutes and seemed longer than Battleship Potemkin. This mainly had to do with the casting of Navarro who could just about carry a tune, and when he did, his voice had a tremelo faster than a butterfly's wings.

Jeanette MacDonald, of course, is luminous - beautiful, charming, and in great voice. Navarro did just not have what it took to be her leading man. As stiff as Nelson Eddy was, there was something about the two of them together that had real chemistry. No such thing here.

This is a movie, as someone said here, for Jeanette MacDonald fans only. She's always worth watching, and someone here also mentioned seeing her do King & I. I'm envious.

Not A Team That Scored A Success

[bkoganbing · 6/10 · 6 August 2006]

Between her first film at MGM which was her last with Maurice Chevalier, Merry Widow, and Naughty Marietta which was the debut film of her partnership with Nelson Eddy, Jeanette MacDonald did a film adaption of Jerome Kern's and Otto Harbach's Broadway show The Cat and the Fiddle. She co-starred with Ramon Novarro and while the results were interesting and entertaining there was no demand for more MacDonald/Novarro screen pairings.

The Cat and the Fiddle ran for 365 performances during the 1931-1932 season, something of a miracle for a show to run that long. Most of the score remained intact from the Broadway show. Some big hits for the Kern-Harbach team that came out of that show were She Didn't Say Yes, The Night Was Made for Love, I Like to Watch the Love Parade, and Try to Forget all sung nicely enough by Jeanette and/or Ramon.

While Jeanette's career was on the rise, Ramon was on the downhill slide being propelled like a toboggan by Louis B. Mayer. He was living as openly gay a life as a star could back in the day. Right around this time another gay star William Haines was being given the heave ho by MGM and the Code was on the horizon. Novarro would soon be leaving the USA for Europe and his native Mexico.

The plot concerns two music students in Brussels, American Shirley Sheridan and Victor Florescu presumably Rumanian. Like the usual awkward beginning associated with MacDonald/Eddy movies they are soon at work and in love. However producer/impresario Frank Morgan has designs on Jeanette and Ramon has caught the eye of former diva Vivienne Segal.

This was Vivienne Segal's last film in an otherwise disastrous fling in Hollywood. Making her debut in 1915 she was a leading musical comedy star of Broadway and like a whole lot of Broadway players went to Hollywood when pictures began to talk. She didn't fare well at all in her films and in this last film she's supporting Jeanette. But she sings New Love is Old and Well and being The Cat and the Fiddle is out on at least VHS, it is the only way today's fans can see one of Broadway's leading stars.

Funny how situations can be played for either drama or comedy. A bum check is played for laughs in the Marx Brothers film Room Service. Here in The Cat and the Fiddle the plot calls for Novarro to write a bum check in order to keep his show going for five days after Segal's husband pulls her out of the show. That could have been real serious.

Are you curious as to what happens?

Going to the Operetta with Novarro and MacDonald

[wes-connors · 6/10 · 2 December 2007]

Ramon Novarro (as Victor) is a struggling musician, trying to make ends meet, in Brussels. After delighting diners with a new composition, Mr. Novarro refuses to pay the owner for some wine, and runs away. He loses pursuers by hopping into a car, which is occupied by another poor musician, singer Jeanette MacDonald (as Shirley). Novarro is smitten with Ms. MacDonald, and woos her from his neighboring apartment. The two are drawn to each other, both romantically and professionally. On the verge of becoming a successful team, Novarro's producer Frank Morgan (as Daudet) becomes a romantic rival for MacDonald's affections.

Operetta films featuring soprano MacDonald aren't exactly my favorite of movie genres; but, this one is better than most. Stars Novarro and MacDonald are very engaging; Novarro has a couple of great, unexpected, dramatic scenes. Look for some entertaining supporting performances, too; Charles Butterworth is especially good as the "Harp Player". The film eventually becomes a total operetta, with Novarro and MacDonald singing until the end of "The Cat and the Fiddle". The last song is shown in color. The better song was "The Night Was Made for Love".

****** The Cat and the Fiddle (2/16/34) William K. Howard ~ Ramon Novarro, Jeanette MacDonald, Frank Morgan, Charles Butterworth

The dawn of MGM Jeanette

[marcslope · 12 June 2017]

Jeanette MacDonald's first for Metro is a loose adaptation of the hit Kern-Harbach operetta co- starring Ramon Novarro and Frank Morgan, and alas, she's already becoming MGM Jeanette. A smart, suggestive comedienne at Paramount in things like "One Hour With You" and "Love Me Tonight" (to these eyes, the greatest movie musical ever), she really became a household word at Metro, in operettas, usually opposite Nelson Eddy, that increasingly encouraged her diva- hood. Here, as an American pop composer in Brussels, she's already losing her deliciously risqué sense of humor and indulging in great-lady sentimentality. Fun Jeanette isn't entirely gone, though, and she works well with Ramon, who has an attractive tenor and a good deal more acting skill than some of MacDonald's subsequent leading men. The screenplay, by the Spewacks, runs far afield of the Broadway original but makes room for most of the sublime score. And there's also a good glimpse of Vivienne Segal, a legendary Broadway soprano who'd been playing Jeanette-style leads just a few years back, at the dawn of sound. Charles Butterworth--no stranger to Kern, having supported Helen Morgan on Broadway in "Sweet Adeline"--has some funny bits, and there's a pleasing finale in early three-strip Technicolor. Jeanette followed this one up with "The Merry Widow," where, aided by Chevalier and Lubitsch, she was more her old self. Witness this one for some lovely Kern and for Novarro, but watching Jeanette trade comic finesse for prima donna respectability isn't pretty.

minor MGM musical

[didi-5 · 7/10 · 15 March 2005]

Notable for three things - the MGM debut of the lovely Jeanette MacDonald; the musical ability of Ramon Novarro, at this time on his way out of films as his star began to wane; and the Technicolour finale.

'The Cat and the Fiddle' comes to the screen from the Broadway operetta, retaining most of the already-dated songs, and a plot designed to make the most of familiar character actors of the time (Charles Butterworth, Joseph Cawthorn, Jean Hersholt).

It is definitely minor league stuff when you consider the musical legacy of the MGM studios, but definitely worth watching. The leads are good together and in excellent voice, and the film is funny, sparkling, and very much of its time.

A musical romance where the lovers seem more like brother and sister than paramours.

[mark.waltz · 6/10 · 30 November 2013]

There's little chemistry to be felt between Ramon Novarro as a broke songwriter out to get his operetta produced and Jeanette MacDonald as a singer who is obviously the right choice for the lead. They seem more like arguing siblings than a passion-driven couple, lacking what worked with MGM's then rising team of Myrna Loy and William Powell. Still, the MGM gloss is working overtime here, even if MacDonald isn't in possession of someone like Maurice Chevalier, her oft co-star at Paramount with whom she would make her MGM debut opposite in the huge smash "The Merry Widow". I have mixed feelings about her chemistry with Nelson Eddy; It was obviously present in some yet sorely lacking in a few of their co-starring roles, but never was it as flaccid as the pairing here.

No matter how masculine and virile Novarro tries to be, he's never convincing, and a rather high-pitched voice defiles his attempts at masculine wooing of the leading lady. When producer Frank Morgan, in agreement to produce the operetta, takes an interest in Jeanette, you know he could swat Novarro out of the way instantly, so no amount of script tinkering can make the pairing work. Charles Butterworth gives his typically droll performance, coming off like Stan Laurel's slightly more sophisticated uncle, while Jean Hersholt is his usual wise, kindly adviser. Henry Armetta is very amusing as the horn-tooting taxi driver, while Broadway musical veteran Vivienne Segal (in one of her few film appearances) is seen briefly as a diva who threatens to take on the lead before MacDonald finally steps in.

An out-of-the-blue color finale comes on just minutes before the film ends which is rather jarring the way it suddenly appears. There seems no real purpose to it other than to get some easy publicity for its inclusion.

show-within-a-show love story

[ksf-2 · 7/10 · 1 June 2017]

Reading the description for this, my expectations were pretty low, due to the silly plot, (and it IS !) but what a fun collection of stars. The Wizard (Frank Morgan), five years before he was the wizard. Jeanette MacDonald, singing. Charles Butterworth is HILARIOUS in this one. Didn't really play a major role, but was there for laughs. He died so young in a questionable car accident. He always looked older in his roles, (make-up ?) but died at 49. Ramon Navarro, who DID make the jump from silents to talkies. A treasure trove of fun stars. The plot... oh that. Navarro is Victor, a composer, trying to get his big break. MacDonald is Shirley, the singer. They get together, but for some reason, can't seem to make it big while they are together. They separate, try to hit it big, and may or may not get back together. Victor is finally putting on his big show, and everything that can go wrong is going wrong. Fun short bit as they scheduled singer seems to be drinking the "mouthwash". The plot is fluff, but totally entertaining, and the "show within a show" is in color. Catch it on Turner Classics!

Pretty good if you like that sort of stuff--but it definitely was NOT my cup of tea

[planktonrules · 6/10 · 11 July 2007]

Before I go any further, you need to understand something before you accept my review without question. While I adore films from Hollywood's Golden Age and I think I was born at the wrong time, I never have particularly liked the style of films that Jeanette MacDonald made--particularly those with Nelson Eddy. A while back, I gave a bad review to one of their very old fashioned films and I was beset with angry fans. Who was to know that anyone alive today actually LIKED these operettas?! So, to be fair, understand they just aren't my cup of tea, so to speak.

Now another thing you should know is why, in spite of this, I still watched the film. Well, while I generally don't like them, I really, really liked two of the films Ms. MacDonald made with Maurice Chevalier (THE MERRY WIDOW and LOVE ME TONIGHT)--probably because of his charming performance.

Unfortunately, while I preferred having Ramon Navarro in the film instead of Nelson Eddy (uggh--the combination of him and MacDonald is too much for me), this isn't saying much as overall I didn't like the film but at least I am intellectually honest enough to give the film a 6 for technical merit.

As for what I didn't like, the list would probably be very long, so I'll try to cover the major points. First, while Navarro was a capable leading man in the silent days, his transition to sound wasn't great due to his strong accent. While it got easier to understand him in some later sound films, here it is quite difficult for my American ear--perhaps others might have an easier time of this and it would have helped if the videotape had been close captioned. But what was apparent regardless of this was that Navarro couldn't sing well at all and couldn't come close to keeping up with Jeanette. Second, there was just too much singing. While I sometimes enjoy a good musical, there was so much singing and stage productions near the end that I tended to speed through some of them. Third, the Technicolor used on one small sequence at the end of the film looked just awful. I can't blame the people who made the film but those who released it on video, as it desperately needs restoration. It was fuzzy and garish and I doubt this was Technicolor's fault--particularly as I have seen Two-color Technicolor films that look a lot better and it's a much more primitive process than the Three-strip Technicolor used here.

Now there were a few things I liked. Charles Butterworth seems totally out of place in the film and just wanders about saying inane things. This actually IMPROVED the film and kept me laughing--particularly when the prima donna of the opera turned out to be very old and Butterworth suggested they change the plot to make it the love between a man and his mother (instead of his girlfriend)--even though it was clearly a romance! He said that perhaps people wouldn't mind and were broadminded about the whole thing!!!

DO NOT READ FURTHER--MAJOR SPOILER ALERT!!

STOP READING NOW!! I MEAN IT--KEEP YOUR LITTLE ILLUSIONS AND STOP READING!!

THIS MEANS YOU!!

STOP!!!

WELL, DON'T SAY I DIDN'T WARN YOU!!!

The romance between Navarro and MacDonald was difficult to believe for me and other lovers of film trivia because although I have read that Mr. Navarro was a wonderful man, he was also quite gay. Sorry to spoil the illusion, but I did warn you!! On the other hand, since it appears that the two are cohabiting in part of the film, this might make some a bit more comfortable since they weren't married.

Two Stars Shine in Forgotten Musical

[Ron Oliver · 10/10 · 9 October 2000]

Two struggling young composers share adjoining pensions in Brussels. A romance ensues, and they soon find themselves sharing more than just the view. When the lady finds success, the gentleman departs, seeking for fame of his own. Fate conspires to keep them apart - can they ever, like THE CAT AND THE FIDDLE, make sweet music together?

Although virtually forgotten today, this musical romance has much to recommend it, including sophisticated performances from its two stars, Ramon Novarro & Jeanette MacDonald. The lavish production values may have been the Studio's way of pumping MacDonald in this, her first MGM film. Both of the stars exude charm & handle the Kern/Hammerstein score quite nicely.

This would be their only film together. MacDonald would soon begin her celebrated collaboration with Nelson Eddy and become one of the Studio's superstars. Not so for Novarro. Although he gives a fine performance here, after only two more (negligible) films, Novarro would be released from his MGM contract. Tastes in male leads had shifted away from the Latin Lover, but also the Studio bosses were doubtless concerned that Novarro's private life might prove a scandal and an embarrassment, a la William Haines. Be that as it may, THE CAT AND THE FIDDLE would prove to be Novarro's last decent starring role.

Some very fine supporting actors appear: Charles Butterworth, as a befuddled benefactor; Jean Hersholt, as a kindly music professor; Henry Armetta, as a furious cab driver; and Frank Morgan, as a comically lecherous impresario. In unbilled roles, movie mavens will recognize Paul Porcasi, as an unfriendly cafe owner; Herman Bing, as the speechless leader of the Fireman's Band; Sterling Hollowly, as a delivery boy; and Christian Rub, as a stage actor.

Best song? `The Night Was Made For Love.' The film segues into eye-pleasing early Technicolor for the final scene.

Too much in this comedy romance musical doesn't click

[SimonJack · 6/10 · 19 July 2021]

One always likes to give Jeanette MacDonald movies high ratings, but a couple films she made just don't rate that well. And, it's not been due to her. MacDonald was a very good actress and singer, and she had an engaging screen persona. She does here as well in the role of Shirley Sheridan.

But, "The Cat and the Fiddle" just isn't that good on the screen. Three years earlier it was a smash Broadway hit. Never having seen that, I can't compare the two. But what this film shows is not very good casting, a very weak screenplay, and only so-so acting. The story doesn't have a sense of continuity and life that it must have had on stage. That may reflect the director and film editing some. But the cast of Frank Morgan as Jules Daudet is way off. One just can't believe Shirley even considering marrying him - no matter how wealthy he is or for a promising career.

Morgan was a fine actor and had a long career in Hollywood. He will forever be remembered, of course, as the wizard in "The Wizard of Oz." But he had some very good roles, dramatic and comedy. And, he had a few stinkers. These were mostly when he was cast in roles for which he just wasn't the right person. Often that had to do with his age. It's a matter of believability or even possibility at times with audiences. Well this is one role and film in which it's not the slightest believable that Jeanette MacDonald's character could fall for him or want to marry him.

Then, there's Ramon Novarro as Victor Florescu. He has top billing and is the main character of the film. Navarro also was a good actor and leading man. But his character here is too conflicted to be accepted, if not believed, by the audience. Again, that may be because of the script and/or direction. But his getting over his torment and giving up on Shirley is hardly believable for someone who was supposed so deeply in love. Now, for fame and fortune, one might see that was possible in a story. That would have called for something of a change of character.

With a much better screenplay, and one cast change this could have been a much better musical comedy. It has some crisp and witty dialog in places. Here are some favorite lines.

Daudet, 'Young men are selfish, egotistical." Shirley, "Maybe you're right." Daudet, "Occasionally."

Daudet, "Well, I'm fond of you, Victor." Victor, "I never suspected that." Daudet, "And I have great faith in your talent." Victor, "Nor that."

Daudet, "Very well, I'll be frank." Victor, "That will be a relief."

Daudet, "You mean to tell me you haven't done any work?" Victor, "You mean to tell me you didn't know it?"

Daudet, "I can make Shirley an international figure." Victor, "But I'm in the way?" Daudet, "You are!" Victor, "Very much." Daudet, "Very much. You want her to give up all this to wash dishes?" Victor, "Oh, but that would never do. She isn't good at washing dishes. She breaks them."

Daudet, "Do you want her to give up everything that a beautiful and talented young woman is entitled to, just to wait on you? Do you understand what I mean?" Victor, "Perfectly. You want me to give her up." Daudet, "Well, are you going to let her ruin her career?" Victor, "Why not? Other women have done more for love."

Odette, "I was in love once, so I married Rudy for security."

At Least It Doesn't Have Nelson Eddy....

[bob-790-196018 · 4/10 · 25 March 2011]

In the years before she teamed up with Nelson Eddy and became the object of later camp mockery, Jeannette MacDonald starred in several bright, sophisticated musical comedies directed by Ernst Lubitsch, and in one of the greatest of all musical films, Rouben Mammoulian's Love Me Tonight. MacDonald had many talents, and they were all on display in these movies. She could sing wonderfully, act, do comedy, and be quite sexy.

Unfortunately, while The Cat and the Fiddle belongs to this pre-Eddy period, it does not measure up to the other films. It has all the saccharine sentimentality--the corn--of old fashioned operetta without any of the high spirits and with little of the sophisticated humor. In addition, Ramon Novarro is no Maurice Chevalier. He is earnest but dull and too effeminate to be believable as the object of MacDonald's romantic interest. The best one can say is that he can sing reasonably well.

Besides the pleasure of hearing MacDonald sing and do her best to inject some life and naughtiness into the story, there is one other high point: Charles Butterworth in his role as Charles, the goofy hanger-on with the absurd non-sequiturs. He was a delightful character actor of the time.

There is one particularly good Jerome Kern song: The Night Was Made for Love. Also worth seeing is Vivienne Segal in one of her rare movie appearances. One of her greatest Broadway roles was in Pal Joey.

Bubbly, Over-Looked, Pre-Code Musical Gem

[sobaok · 10/10 · 14 August 2001]

This is a delightful, free-spirited musical gem from MGM. It has the feel of the risque Paramount musicals of the era. Jeanette MacDonald and Ramon Novarro are lovers who co-habitat (not an issue here!) and nurture each other in their respective musical careers. Jerome Kern's score is wonderful -- the kind of tunes that stay with you, "Try to Forget", "The Night Was Made For Love", "She Didn't Say Yes". Great dialogue and comic relief and a few emotional snarls give the film some complexity. The musical numbers are innovative and interestingly filmed -- they compliment the score. The atmosphere in Brussels is highlighted by a variety of characters in the arts community. The film has a musical fluidity. Other than the stilted staging of the 3-strip Technicolor ending, this film deserves more attention.

Jeanette MacDonald always has a beautiful voice.

[jfarms1956 · 3/10 · 1 May 2014]

The Cat and The Fiddle is a movie best enjoyed by the baby boomer generation. The best things about this movie is the surprise ending and Jeanette MacDonald. I found the movie to have a lack-luster plot. The beautiful scenery and costumes aid in the enjoyment of the film. I always enjoy watching Frank Morgan. Jeanette MacDonald always has a beautiful voice. I think that the film would be best enjoyed as a late night film to relax one from the stresses of the day. A glass of wine is a perfect to accompany the viewing of this film. If the producer could do the ending of the film the way he did, then why didn't he do the rest of the film the same way. It would have been more enjoyable to watch like that. It was too long, too late. I give it three thumbs up.

Unjustly forgotten

[preppy-3 · 8/10 · 1 August 2004]

Charming musical/drama/comedy.

A penniless composer in Brussels named Victor Florescu (Ramon Novarro) meets American singer Shirley Sheridan (Jeanette MacDonald). He is immediately (and understandably) attracted to her. She hates him but then they start collaborating and fall in love. She becomes successful and he doesn't. Will this tear them apart?

The story is obvious from the beginning but who cares? This was MacDonald's first movie for MGM and they pulled out all the stops for her. The movie is beautifully done with lavish sets and costumes and a beautiful score. MacDonald and Novarro have no sexual charisma between them (a kiss at the end looks horrible) but they both can sing and play off each other nicely.

MacDonald is very good at acting and singing. She's beautiful and what a voice! Novarro sometimes overacts (especially at the beginning) and he doesn't look too good (he was sadly suffering from alcoholism at the time and it shows) but he still has that boyish charm and smile and he can sing very well. And there's an interesting closing sequence in VERY bright two-color Technicolor (love Novarro's green suit!).

It's well-done with beautiful sets, acting, stars and songs. This really should be better known. Also one of Novarro's best final roles before homophobia ruined his career. I give it an 8.

For Jeanette Macdonald fans only

[39-0-13 · 16 September 2004]

A European songwriter with classical pretensions meets an American songwriter interested in popular music. He falls madly and impetuously in love with her, while neglecting his private audience before an impresario who could give him his Big Chance. He eventually plays before him, but the older man is more interested in the girl friend. Complications ensue. The girl's song becomes a big hit, and the young man has to make his mark on his own. For a time he seems to have the help of an Older Woman, but she chooses not to ruffle her husband's feathers. A stage performance of his musical is saved by the American's intervention, performing the lead role. He wins the girl's love, after all, despite many disruptions and her last minute spurning of her older benefactor who is by now her official fiancé.

This is a painful movie to watch. Novarro plays a very annoying, very stupid character. How any woman can fall in love with him strains belief. Even a casual moralist might have trouble with the empty headed antics of the major figures. This movie may have been made before the Hays Office censors forced cuts, for the movie makers wanted to be naughty or salacious in the story line.

As for the actors, Ramon Novarro may have been able to sing, but he is not a Nelson Eddy, much less akin to any of Eddy's successors on screen (Allan Jones, Tony Martin, Howard Keel, John Raitt, etc.).

Jeanette Macdonald is wonderful. She has been a favorite of mine since I saw her on stage at Kansas City's Starlight Theater (an outdoor stage in KC's Swope Park), playing the Gertrude Lawrence role in THE KING AND I sometime in the early '50's. The music is really only so-so. "The Night was Made for Love" is the big hit, and it's laughable. Jerome Kern gets the credit for the score, but Cole Porter and Irving Berlin composed better screen music overall.

Pepe Le Pew

[view_and_review · 2/10 · 2 March 2024]

"The Cat and the Fiddle" started with a Pepe Le Pew type character molesting a woman in the name of romance. But it's not bad if it works, right? From there it morphed into your basic love triangle with the wealthy, older man who could offer everything tangible on one side, and the young, poor upstart full of charm and everything else the other guy didn't have.

The Pepe Le Pew was a young Frenchman named Victor Florescu (Ramon Novarro). When he met an American woman named Shirley (Jeanette MacDonald) he was all on her like a dog in heat--stalking her, entering her room, kissing her, etc. It was just the type of behavior that would influence young men for generations to come teaching them that men should continue to be assertive with women until they win them over.

Trying to come between their love was a wealthy producer named Daudet (Frank Morgan) who could make any young upstart into a sensation. He wanted Shirley for himself. He would have her for himself when Victor went away to Brussels so that he could work on his operetta and Shirley could continue to do her music. Victor loved Shirley too much to hinder her progress, but Shirley took his departure as abandonment.

Victor went about trying to put together his magnum opus with a woman named Odette (Vivienne Segal) as his leading lady. Odette was married to an older rich man but wanted Victor for play. The two were busted being kissy face in a very clumsy manner that was on par for 1930's infidelity.

Victor went to Odette's dressing room to get her for rehearsal. For some inexplicable reason he had to be damn near face to face with her to speak with her. Well, that was plenty close for Odette to hold Victor close and kiss him. Apparently, she was so strong Victor couldn't break away even though he "loved another." Right at that time Odette's husband walked in on them and demanded she quit the show or find a new husband.

And like that, Victor lost his leading lady. So who do you think stepped into the role even though she was slated to marry Daudet the sugar daddy? Shirley of course, thereby bringing her and Victor back together to rekindle their love and leave Daudet holding his cane.

Free on Internet Archive.

Jeanette at her best

[JeanetteFan · 10/10 · 2 February 2004]

This little known film is a gem for Jeanette Macdonald.I read that she does her own piano playing in this.The music is lovely and fits her voice like a glove.Also,the color ending is very good.Ramon is fine as a leading man for Jeanette.It is a charming blend of a good story,very fine acting, and singing.

Ramon steals the show!

[David-240 · 9/10 · 27 May 1999]

Witty film is powered along by the energy of Ramon Novarro. His exceptional work in this film reveals his enormous talent for comedy and drama. The scene where he pretends not to love Jeanette, so she will leave him for her career, is superbly under-stated and very moving.

Jeanette's not bad either but a bit too florid. Great supporting cast, especially an hilarious Charles Butterworth, and excellent direction make this a film not to miss. I hated most of the music though - hideous operetta.

And don't turn the colour down - the last scene bursts into rather lurid technicolour.

Weak story, miscast

[we2 · 4 February 2008]

There are so many things wrong with this 1934 MGM production. This is a semi-operetta, whose weak script and totally miscast stars drags this lavishly produced love story to yawnsville. The 31 year old perky MacDonald, who has noticeable dark rings under her eyes, plays the part of an 18 year old, to a weak voiced, and obviously effeminate 34 year old Ramon Novarro. The story is just plain silly. All but the final number where the boy gets the girl is B/W. Then like magic MGM pulls off their switch to color routine. The boy is holding the girl and singing of love when a tree in back of them suddenly sprouts and grows upward. It’s embarrassing and non too subtle. The supporting cast that includes Jean Hersholt, who went on to become famous playing Dr Christian on radio and in films, is wasted as an old man with too few lines. Leonid Kinskey is his same old silly self. The direction was nothing special, but can be forgiven due to the fact that color and sound was still being perfected. The script by Bella Spewack cannot be forgiven. It was just weak and unbelievable.

What’s positive here? Words by Otto Harback and music by Jerome Kern. What little music there is shines. A lot more would have been a big plus. The best role was played by Frank Morgan, who later played Professor Marvel the Wizard of Oz. He was the much older rejected lover, and he played the part quite believably.

Saying this, I would recommend this to students of ancient movie making. I often wondered about Novarro. I heard and read so much about him. To me he just doesn’t come across well. But, that’s just me.

Notable and Underrated

[LeonardKniffel · 8/10 · 6 April 2020]

Although seldom watched today, this romantic romp about two composers is notable for at least three reasons: First, the magnificent voice of Jeanette MacDonald, before she became famous for duets with frequent costar Nelson Eddy. Second, there is the appearance of a singing Ramon Novarro, a popular Latin-lover type in silent films. And last, the shift at the end of the film into an early use of then-innovative Technicolor. --from Musicals on the Silver Screen, American Library Association, 2013

Utterly charming operetta/musical comedy - Kern

[bbmtwist · 8/10 · 18 July 2013]

This is sheer delight-nothing new in the story line, but such music and such directorial pacing, plus exuberant and lovely performances from MacDonald and Novarro with able support from Butterworth and Morgan.

This is a brisk film- adapting Kern and Harbach's operetta/musical comedy pastiche from 1931 (355 performances on Broadway, just under a year, despite the MGM posters' boasts that it played two years on Broadway).

Songs are rarely production numbers, they start, they are expanded, they are re-prised, much like what Hammerstein wanted musical theater to be {Kern had created SHOW BOAT with Hammerstein four years earlier and perhaps caught the bug].

Both MacDonald and Novarro are wonderful, romantic and with great chemistry. Charles Butterworth is wonderful as always in support, as is Frank Morgan.

This was the fifth and final film of Vivienne Segal, Broadway star of Rodgers and Hart's A CONNECTICUT YANKEE and PAL JOEY. She made 5 full length films, four of them in full two- strip Technicolor - two are lost, one survives in black and white only. She has here two sequences as an established star - one 3.5 minutes and one 3 minutes. It's her farewell to film, but she exits beautifully and wisely.

The numbers: Impressions In A Harlem Flat (piano); She Didn't Say Yes; A New Love Is Old; The Night Was Made For Love; I Watched The Love Parade; The Breeze Kissed Your Hair; One Moment Alone; Try To Forget.

The hits were of course the standards: She Didn't Say Yes and The Night Was Made For Love.

There is a three strip Technicolor finale that lasts four minutes.

Most enjoyable and an absolute delight!

In the middle of the depression, into a world of joy

[alrodbel · 10/10 · 26 August 2013]

We often record old films from TCM, and usually can watch them for ten minutes or so before we realize that it doesn't translate after eighty years. From the first scenes of this amazing film, I knew we were in for a treat. The framing of the shots, the timing and direction, the pitch perfect representation of "love at first sight" took us into that world, as I imagined it did to those who saw it at the movies in those struggling years.

Janet McDonald was working on her own composition, when Navarone happens into her studio. He listens and then makes a minor suggestion, that one phrase should go up, rather than down. Janet sang it that way, and I swear, the song became exquisitely lovely. This fit into the plot as the song made her rich and although she was willing to share with her new love....well, no spoilers here; even though the plot, while perfectly crafted, is not the essential element.

This deserves to be enjoyed by all, and to be studied by students of the cinema. It shows what can be achieved when all the elements come together, that we willingly suspend disbelief to be treated to such intelligent memorable fantasy.

A fascinating movie which repays constant visits!

[JohnHowardReid · 10/10 · 28 September 2016]

Two directors were involved in this one and my problem is who did which? My colleague, Barrie Pattison, would probably say it was no problem. "Sam Wood did all the good stuff, William K. Howard, the less inspired!" I'm not so tempted to go along with that. The problem is that, as everyone knows, every studio in Hollywood was in a bit of a mess in 1934 when the Depression was really starting to bite on cinema attendances. Both top-billed Ramon Novarro and Jeanette MacDonald were not happy with their roles. Jeanette insisted that her part be built up. Contemporary press reports confirm this and some even suggest that Vivienne Segal's role was lessened as a consequence. The additions have certainly made MacDonald's role far more interesting – she is a presented as a person who has no taste – but far less sympathetic. She was probably unaware of this. In real life, she took herself very seriously and hated to be made fun of – unless, of course, the funster was Maurice Chevalier (who could always take refuge in the fact that English was his second language). Getting back to The Cat and the Fiddle, money was spent like water on sets and costumes. In fact, it doesn't look like a Metro-Goldwyn-Mayer film at all. Notice that Gibbons is not credited – and was he mad as hell! Anyway, my educated guess is that the first half of the film was mostly directed by William K. Howard and that Sam Wood took over at some stage in the second half. Three photographers were employed: Ray Rennahan for the Technicolor sequence, Harold Rosson and Charles Clarke for the black-and-white. In all, a fascinating movie which repays constant visits, year after year!

Ramon sings!

[gkeith_1 · 9/10 · 10 August 2013]

I loved it that Ramon could sing! He did a good job, and so did Jeanette MacDonald.

I was thinking that this movie was Pre-Code. I realized from my Ohio State film censorship course (Department of Theatre) that the Code began around 1931, but was not taken too seriously until perhaps not long after this movie was made.

I WAS a bit shocked seeing Ramon leaning over Jeanette in her bed, and then I realized that the Code had not yet totally sunken its teeth into movie-making. Too see Jeanette's costume-changing in front of the men, and the tops of her stockings showing were more clues.

I did not see this whole movie. I learned from other IMDb reviewers here that the characters cohabitated. Still, the characters' relationship looked just a little too smarmy for the censors who supposedly ruled in that era.

Novarro's real-life private lifestyle, yes, got in the way of some of his recognition and career. Even further, his career was soon weakened by a Red-scare of the early 1930s.

IRL, Ramon liked men. Still, actors have to play their characters properly. I have seen Ramon in films such as The Student Prince in Old Heidelberg and Mata Hari. In these, he definitely plays men who love women. Indeed, heterosexuals ought to be able to play gay characters. The reverse is also true that homosexuals need to be able to play heterosexual characters. As Ramon kisses women in movies, I think of Rock Hudson kissing Doris Day -- and later people said they thought all along that Rock was heterosexual in real life. Not!

When actors portray animals on stage, it does not matter the gender of the actor. A man can be dressed up in a cow's costume, which is a feminine character. If an actor is dressed as an earthworm, does anyone ask the actor if he/she is asexual? I think Ramon was a very handsome man. Jeanette was very beautiful, and I have always loved her singing voice.

It was good to see Hersholt, Morgan and Butterworth here. I enjoyed Morgan trying to be a romantic character here, whereas in the later Wizard of Oz he has no interest in the opposite sex -- perhaps he had an affair with the Wicked Witches or the Good Witch of the North (Glinda/Billie Burke). We will never know, however.

I was both shocked and thrilled to see the color segment at the end. This was quite satisfying.

As opposed to some other reviewers, I usually like Jeanette's pairings with Nelson Eddy. I have heard that Nelson was a divo who did not want Jeanette upstaging him, but what do you expect?

9/10, because I feel that this movie moved (pun) very slowly. I FF'd through a lot, but feel that I saw enough to make this review.

Much Better Than You'd Expect

[Michael_Elliott · 10 December 2013]

The Cat and the Fiddle (1934)

*** (out of 4)

A down-on-his-luck composer (Ramon Novarro) meets an American singer (Jeanette MacDonald) and the two quickly fall in love while at the same time trying to get their careers off the ground. Just as everything seems to be going well, another man (Frank Morgan) enters the picture. THE CAT AND THE FIDDLE is a film I went into expecting very little. I knew it had some pretty good reviews but the thought of Novarro playing this type of role in this type of film just seems a bit off. Well, it turns out he's without question the best thing about the picture and he's reason alone to check it out. I was really surprised at how well he fit into the role because he's perfectly believable as this rather laid back yet slick character who we first see trying to get out of paying a tab. The way Novarro plays this sequence was pretty funny and there are quite a few other scenes where he's trying to get out of paying something. I also thought the musical numbers were handled extremely well by the actor as he brought a lot of energy and fire to them. MacDonald is also very good in her role and is believable and charming. I thought the chemistry between the two stars was right on the mark and helped sell the typical romance. Morgan and Jean Hersholt are also good in their supporting roles but it's Charles Butterworth who nearly steals the picture with his comic genius. It's really a shame this guy isn't better known today. The musical numbers are all quite good even though none of the songs really jump off the screen. Another highlight comes for the final five-minutes when the film switches over to 2-strip Technicolor and just wait till you see MacDonald's hair color. It jumps right off the screen!