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I Dream Too Much (1935)
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Overview
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Director:
Writers:
Release Date:
29 November 1935 (USA)
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Plot:
Jonathan Street is a struggling composer when he meets and marries Annette. The problem is that Jonathan was drunk and does not want to be married...
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Plot Keywords:
Opera
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Composer
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Carnival
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Paris France
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London England
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Awards:
Nominated for Oscar.
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User Comments:
Lily Pons hits some nice high notes...that's about it...
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Cast
(Complete credited cast) | Lily Pons | ... | Annette Monard |
 | Henry Fonda | ... | 'Johnny' Street |
| Eric Blore | ... | Roger Briggs |
| Osgood Perkins | ... | Paul Darcy |
| Lucien Littlefield | ... | Hubert Dilley |
 | Lucille Ball | ... | Gwendolyn Dilley |
| Mischa Auer | ... | Darcy's Pianist |
| Paul Porcasi | ... | Uncle Tito |
| Scotty Beckett | ... | Boy on Carousel (as Scott Beckett) |
Additional Details
Parents Guide:
Runtime:
97 min
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Language:
Color:
Aspect Ratio:
1.37 : 1 more
Sound Mix:
Mono (RCA Victor System)
Certification:
Company:
Fun Stuff
Quotes:
Jonathan 'Johnny' Street:
We used to eat, we used to drink; whatever happened to the illicit drugs we used to do?
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Soundtrack:
The Jockey on the Carousel
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This FAQ is empty. Add the first question.more (7 total)
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The very concept of HENRY FONDA (the "aw shucks" guy from the sticks) as the husband of an opera singer (LILY PONS) is a weak idea that must have posed quite a problem for the scriptwriters. You have to wonder how audiences accepted this idea way back then because Fonda's youthful image was strictly the unsophisticated farm boy type.
But that's not the only improbable thing about I DREAM TOO MUCH. The slight story is silly (as most musicals of the '30s were), and enjoyment of the film will depend entirely on whether or not you like to hear Miss Pons give out with her flute-like operatic voice on several well chosen arias. She certainly had an amazing vocal range and her rendition of "The Bell Song" from L'Akme is a highlight of this otherwise rather ordinary film.
ERIC BLORE is there for a few standard comic routines and you can even catch a glimpse of LUCILLE BALL as a tourist in one of her early roles at RKO. But there's nothing much one can say about the film itself except that it gave audiences a chance to hear why Pons was such a favorite at the Met for a period amounting to something like thirty years. Otherwise, it's strictly routine stuff as romantic comedy, coming to life only when Pons sings.