Toni Le Brun, a beautiful Viennese singer, becomes the ward of the wardrobe mistress of a Monte Carlo nightclub. Her benefactor, however, is actually a baroness incognito. Toni falls in ...
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John S. Robertson
Two American soldiers are captured by the Germans on the Western Front during World War One and escape a POW camp only to stumble into further life-threatening adventures when they come across an Arabian king's daughter while on the lam.
In turn-of-the-century Australia, two criminals ingratiate themselves with a rancher in order to swindle him. However, the two partners become rivals for the affection of the rancher's beautiful daughter.
Toni Le Brun, a beautiful Viennese singer, becomes the ward of the wardrobe mistress of a Monte Carlo nightclub. Her benefactor, however, is actually a baroness incognito. Toni falls in love with the handsome Richard, but as they prepare to marry, she comes to believe he is only after the wealth accompanying her new noble status. But truth, like true love, will not be kept secret long.Written by
Jim Beaver <email@example.com>
This is a delightful film based upon a play by Avery Hopwood, an adaption of a work by Rudolph Bernauer and Rudolf Oesterreicher, featuring a radiant and vivacious Corinne Griffith as Toni LeBrun, a would-be diva who is adopted as ward by a baroness (Louise Dresser) who takes her to Monte Carlo where romantic adventures then take place. The work is directed by Lewis Milestone, one of the few Americans who may be described as a cinematic auteur, predicated upon his clear stylistic methods, in evidence here in this leisurely paced effort, in particular with clever establishing, long and detail shots used in the seamless decoupage typical of silent filmmaking at its best, and certainly present in this influential picture. The keen expressivity of art director William Cameron Menzies and the technically flawless cinematography of John Arnold are absorbed by Milestone as this trio combine in presenting a stream of interesting imagery, some of which has been copied but not bettered in the sound era. A highly polished supporting cast backs Griffith, notably Charles Ray as her romantic favorite, Lowell Sherman as a knavish would-be nobleman, Maude George, who portrays an androgynous stage manager and Dresser in a typically well-defined performance as Toni's adoptive mother. Rosa Rio, at the Wurlitzer, plays the original score with a great deal of wit and neatly interpretive passage-work; a perfect aural mating with a sublimely visual feast.
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