7.2/10
1,696
28 user 26 critic

The Love Parade (1929)

The queen of mythical Sylvania marries a courtier, who finds his new life unsatisfying.

Director:

Ernst Lubitsch

Writers:

Ernest Vajda (by), Guy Bolton (by) | 2 more credits »
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Nominated for 6 Oscars. Another 1 win. See more awards »

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More Like This 

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Cast

Complete credited cast:
Maurice Chevalier ... Count Alfred Renard
Jeanette MacDonald ... Queen Louise
Lupino Lane ... Jacques
Lillian Roth ... Lulu
Eugene Pallette ... War Minister
E.H. Calvert ... Ambassador
Edgar Norton ... Master of Ceremonies
Lionel Belmore ... Prime Minister
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Storyline

Queen Louise's cabinet are worried that she will become an old maid, and are delighted when she marries the rougish Count Renard. Unfortunately, he finds his position as Queen's Consort unsatisfying and without purpose, and the marriage soon runs into difficulties. Written by Philip Apps <apps@math.wisc.edu>

Plot Summary | Add Synopsis

Plot Keywords:

queen | prince | marriage | count | maid | See All (49) »

Taglines:

Paramount introduces the beautiful, sensational, Jeanette MacDonald! Charming! Sexy! Funny! Romantic! Great entertainment!


Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English | French

Release Date:

18 January 1930 (USA) See more »

Also Known As:

El desfile del amor See more »

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Box Office

Budget:

$650,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

Paramount Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.20 : 1
See full technical specs »
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Did You Know?

Trivia

The only Best Picture nominee that year to be also nominated for Best Art Direction. See more »

Quotes

[first lines]
Jacques: [singing] I'll lay the dish here / Ooh, la la la la! / To hold the fish here / Ooh, la la la la! / The serviettes here / And now the cigarettes here / And matches, too. / They mustn't complain. / A little candy / Ooh, la la la la! / A little brandy / Ooh, la la la la! / A bunch of roses / To show the way we entertain / And a little bottle of champagne.
See more »

Connections

Referenced in Hollywood Hist-o-Rama: Jeanette MacDonald (1962) See more »

Soundtracks

The Queen Is Always Right
(1929) (uncredited)
Music by Victor Schertzinger
Lyrics by Clifford Grey
Sung by Lupino Lane, Lillian Roth and Chorus
See more »

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User Reviews

 
pioneering film musical
25 July 2008 | by mukava991See all my reviews

Poor Queen Louise – when she is awakened by her attendants she has been dreaming of love but must face another day in the Kingdom of Sylvania without a husband. When an errant military adjutant is recalled from Paris to face her censure she falls for his charms and he for hers, and they marry. But the Queen's new husband is unhappy in the role of obedient consort. Conflict arises but is eventually resolved, as we know it will be in operetta land.

This early Lubitsch musical rates about the same as MONTE CARLO made a year later. The highlight here is the performance of Maurice Chevalier as the consort, a sort of pre-Cary Grant Cary Grant, Gallic style. He has the same effortless magnetism and charm and a certain physical resemblance. Jeanette MacDonald is as good here as in MONTE CARLO, handling songs and dialogue with equal aplomb and looking gorgeous in her filmy gowns. As is usual with Lubitsch, there is a superior supporting cast, here including the formidable Lupino Lane as Chevalier's valet, a sassy and brassy Lillian Roth as Lane's love interest and Edgar Norton as the "Master of Ceremonies," the personification of royal lackey. Another Lubitsch hallmark, the measured depiction of ritualistic daily activities, gets much display in the context of the protocols of a royal palace. The songs by Victor Schertzinger and Clifford Grey are only passable and the primitive sound recording doesn't help in getting them across but the tone of the whole enterprise is so frothy and pleasant that one doesn't mind not hearing all of the lyrics.

When you compare this film to other musicals from the dawn of the sound era like Broadway MELODY the difference is glaring. Lubitsch's camera is liberated and fluid and we get an assortment of physical approaches to song and dance numbers which themselves vary in style from pompous operetta-military to musical hall slapstick to Gilbert-and- Sullivanesque call-and-repeat choral to intimate romantic duets. There is a hint of LOVE ME TONIGHT in some of the ensemble work, particularly with the palace staff. And the script is studded with witty observations and clever comic constructions, some via dialogue, some through pure visuals. THE LOVE PARADE illustrates that in 1929 Rouben Mamoulian (APPLAUSE) was not alone among film directors in recognizing the value of sound as an artistic element and in refusing to subordinate the freedom of the camera to the dictates of miking.


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