The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52% of the taxes) has left for Paris. So Count Danilo is sent to Paris, to stop ...
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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 »
Circa 1861, Angelina, ruling countess of an Italian principality, is at a loss when invaded by a Hungarian army. Her lookalike ancestress Francesca, who saved a similar situation 300 years ... See full summary »
Douglas Fairbanks Jr.,
The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52% of the taxes) has left for Paris. So Count Danilo is sent to Paris, to stop her from getting married to a stranger, so that the danger of removing the money is averted. But this is not as easy as the ambassador in Paris has planned. Written by
Stephan Eichenberg <email@example.com>
When the film premièred in New York City, Will Hays, and Catholic publisher Martin Quigley, one of the Production Code's authors, were horrified at what they considered the introduction of filth into a harmless operetta. Breen had to come to New York, where he met with MGM executives and members of the Catholic church's Legion of Decency until 2 a.m. working out cuts to tone down Count Danilo's Casanova image and the suggestion that Maxim's was a glorified brothel. Since the film had already been sent to distributors, each distribution office had to cut the prints itself before they could be sent to theatres. Fortunately, the studio kept all the cut material and the film was restored as censorship restrictions relaxed. See more »
This is the very best filmed version of Franz Lehar's delightful operetta. The cast is perfectly matched, the music and songs wonderfully rendered. Though black and white, one rapidly begins to see all the true colors. This is a charmer from Hollywood's Golden Age that holds up well. If you love this great Lehar musical invention, forget the 1952 version, it does not have the vitality of Ernst Lubitch direction, nor does it have a peak Maurice Chevalier nor the enchanting singing voice Jeanette MacDonald. This is the one. You will want to watch this film many times over, as a picker-upper.
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