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I Dream Too Much (1935)

Approved  |   |  Comedy, Romance, Musical  |  29 November 1935 (USA)
5.8
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Ratings: 5.8/10 from 303 users  
Reviews: 5 user | 1 critic

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. Annette does go with him to Paris and ... See full summary »

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(screen play) (as Edmund North) , (screen play), 3 more credits »
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Title: I Dream Too Much (1935)

I Dream Too Much (1935) on IMDb 5.8/10

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Nominated for 1 Oscar. See more awards »
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Cast

Complete credited cast:
Lily Pons ...
...
'Johnny' Street
Eric Blore ...
Roger Briggs
Osgood Perkins ...
Paul Darcy
Lucien Littlefield ...
Hubert Dilley
...
Gwendolyn Dilley
...
Darcy's Pianist
Paul Porcasi ...
Uncle Tito
Scotty Beckett ...
Boy on Carousel (as Scott Beckett)
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Storyline

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. Annette does go with him to Paris and does the cooking and cleaning. To get his music published, Annette takes it to Paul and he is won over - by her voice and not the music. So he manages her career and she becomes a star as an opera singer everywhere she goes. Since Jonathan cannot sell anything he writes, he leaves Annette and that makes Annette sad as she wants only to be his wife. Written by Tony Fontana <tony.fontana@spacebbs.com>

Plot Summary | Add Synopsis


Certificate:

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Details

Country:

Language:

Release Date:

29 November 1935 (USA)  »

Also Known As:

A Voz do Amor  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Victor System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Lucille Ball, who appears in a bit part as a gawky American teenage tourist in Paris, eventually owned the RKO studio lot with husband Desi Arnaz, as their Desilu Productions facility. See more »

Quotes

Annette Monard: Don't you think you could stand me? Just for a little while? Just so I could get away from here? I would cook for you and make your bed, and I would try to put on a little fat.
Jonathan 'Johnny' Street: No. It's impossible. I'd treat you very badly. You'd interfere with my work and I couldn't have that. I'd probably beat you!
Annette Monard: Of course! But I wouldn't care!
See more »

Connections

Featured in Henry Fonda: The Man and His Movies (1982) See more »

Soundtracks

I Dream Too Much
(1935) (uncredited)
Music by Jerome Kern
Lyrics by Dorothy Fields
Sung by Lily Pons
See more »

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User Reviews

 
For opera lovers
26 August 2008 | by (United States) – See all my reviews

"I Dream Too Much," nicknamed "I Scream Too Much," is a 1935 film starring opera singer Lily Pons and Henry Fonda, who at this point in his life resembled Jane Fonda in a man's haircut. He was really at the height of his most adorable-ness. Fonda plays a composer named Johnny Street who marries a young woman, Annette, only to discover that she has an operatic voice. In attempting to push his opera, she sings some of it for the head of the opera company in Paris. He makes her a huge star and Johnny is stuck on the sidelines. When he finds out that she is paying for a production of his opera, he leaves her.

This is a slight story no doubt prompted by the success of Jeanette MacDonald and Grace Moore that relies on the voice and personality of Lily Pons and the cuteness of Fonda. Eric Blore plays a neighbor who has a trained seal; he's there for comic relief, and he was always funny.

Pons was a huge opera star who actually sang for the last time in 1972, when she was 74 years of age! She was tiny at a time when opera stars ran very big, she was very glamorous, and her timing was impeccable - she arrived in America during the Depression and saved the Metropolitan Opera from bankruptcy. Her signature aria was the Bell Song from Lakme, an opera done infrequently today if at all. In it, she wore a bare midriff costume and showed off her F above high C and her coloratura technique. She was an ideal Rosina, Gilda, Lucia, Linda di Chamonix, etc. Women singers in those days were trained a little differently than they are today, with back placement of the high notes. Pons' middle voice and extension above high C were lovely, but the notes from F to high C had a shrillness to them, at least in recording. Her speaking voice records shrilly as well.

This is actually a sweet film that the actors make enjoyable. I could have done without the long, dragging number at the end, but it's a chance to see one of opera's legends and a very young Fonda.


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