Napoleon needs money to fight his wars in Europe so he wants 20 million dollars for the Louisiana Territory in the United States. To help the negotiations, he sends his brother, Jerome, to ... See full summary »
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C. Aubrey Smith
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Napoleon needs money to fight his wars in Europe so he wants 20 million dollars for the Louisiana Territory in the United States. To help the negotiations, he sends his brother, Jerome, to the U.S. on a goodwill tour. At a Maryland Horse Track, Jerome shows up without notice and soon wins an afternoon tour with Betsy. He falls for her, but she will have little to do with him. She is currently being courted by Henry, John and Harry. The next day, Jerome gets a job teaching Betsy French and they soon fall in love. The family dissuades this as they believe that he is but a tutor. When they meet again at a reception in Washington, Betsy consents to marriage, but Napoleon wants Jerome to marry into European Royalty and demands that Jerome do what is in the best interests of France. Written by
Tony Fontana <firstname.lastname@example.org>
Marion Davies was a winsome, whimsical, and very pretty comedienne, with a slyly subversive personality not unlike Carole Lombard's. But her mentor and manager William Randolph Hearst preferred to see her as a clothes horse, in stuffy period romances. And so we have this sleepy costume epic, from a flop play by the author of "Naughty Marietta," where she's a Baltimore society heiress, with hair of a color no 1805 society heiress ever knew, who keeps smiling gallantly while her heart is breaking. It's a Norma Shearer sort of part, and Marion's noble suffering is equally uninvolving. She looks glum and too old for the role, and her romantic interest, Dick Powell as Napoleon's brother (!), looks equally unhappy. Claude Rains is an asset as the Emperor, as are Edward Everett Horton, Charlie Ruggles, and Arthur Treacher as her three other suitors (though the screenwriters might have come up with better dialog for them). But mostly it's Marion being noble--acting condescendingly nice to the slave labor, going from haughty to starry-eyed over Powell in record time, shedding glycerine tears, and advancing to an unlikely, logic-defying happy ending. Frank Borzage directs with his typical moonlight and magnolias, but even he doesn't seem to believe it, and Marion seems to be wishing she were in a screwball comedy.
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