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Monte Carlo (1930)

Passed | | Comedy, Musical, Romance | 27 August 1930 (USA)
A countess flees to Monte Carlo on the day of her wedding, where she is courted by a count posing as a hairdresser.

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(adaptation), (play) | 3 more credits »
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Cast

Complete credited cast:
... Count Rudolph Farriere
... Countess Helene Mara
... Duke Otto von Liebenheim
... Bertha
Tyler Brooke ... Armand
... Paul
... Prince Gustav von Liebenheim
Albert Conti ... Master of Ceremonies
Helen Garden ... Lady Mary
Donald Novis ... Monsieur Beaucaire
Erik Bey ... Lord Winderset
David Percy ... Herald
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Storyline

Minutes before her wedding to Duke Otto Von Seibenheim, Countess Helene Mara flees, on a whim, to Monte Carlo, where she hopes her luck will save her poor financial state. There, Count Rudolph Farriere is taken by her beauty, but she rebuffs him, not even looking at him. Assuming the guise of a hairdresser, he finally succeeds in seeing her, night and morning. Sparks fly, and love ensues - but can she love a lowly hairdresser? As her finances worsen though, the Duke arrives, and his money and social status seem even more enticing. Shunning Rudolph, will her story follow the operatic "unhappy ending", or can she have it all? Written by Rick

Plot Summary | Add Synopsis

Taglines:

Intimate details on the gay goings-on in the world's pleasure capitol. With the girl who won the man who broke the bank at Monte Carlo. (print ad- Evening News, Tonawanda, N. Y. 4 February 1931) See more »


Certificate:

Passed
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Details

Country:

Language:

|

Release Date:

27 August 1930 (USA)  »

Also Known As:

Monte Karlo  »

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Box Office

Budget:

$726,465 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

The song "Beyond the Blue Horizon," introduced here, became Jeanette MacDonald's theme song for the rest of her life. During World War Ii she changed the line, "Beyond the blue horizon lies the rising sun" to " ... lies the shining sun" because the Rising Sun was the symbol of America's enemy, Japan. See more »

Goofs

When Rudolph is leaving the Countess's boudoir after kissing her and depositing her on the chaise-lounge, the shadow of the microphone boom can be seen on the door. See more »

Quotes

Train Conductor: Are you the lady who jumped on this train after we had started?
Countess Helene Mara: Yes, and I shall complain about it. Trains don't go until I get on them!
See more »

Connections

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

Soundtracks

Day of Days
(uncredited)
Music by Richard A. Whiting and W. Franke Harling
Lyrics by Leo Robin
Sung by chorus
See more »

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User Reviews

Rare Lubitsch dud
18 September 2004 | by See all my reviews

Certainly when you look at this film as a 1930 musical, the way that songs are integrated into the plot is a marvel, and it has a fluidity that belies the year it was made. That said, this is rather a chore to sit through, compared to the likes of The Smiling Lieutenant and One Hour With You, and despite the appeal of MacDonald in her early, earthy days, before she became partner to the eunuch Nelson Eddy.

There are three main culprits: first, a plot which just doesn't compare to the comedy-dramas of sexual tension and yearning that Lubitsch's best films offer. The others are fantasies, but this is flat out unbelievable, with too many mistaken identities, arbitrary shifts in attitude by the leading lady, and a lack of tension (since all of MacDonald's romantic choices are stinking rich). It's just impossible to care about. The second is leading man Jack Buchanan. It's not just that you can imagine Maurice Chevalier getting something innocently naughty out of the lines which might actually be charming, but as lightweight as he is, Buchanan seems too smart to believe what a doof-slash-stalker he's playing. Imagine Fred Astaire being replaced in Top Hat by Herbert Marshall, or maybe Paul Muni. And finally... at best the songs are unmemorable ditties cleverly staged. One, however, "Trimmin' the Women," could make the short list of worst movie numbers of the golden age of Hollywood. In short, be glad that Paramount compelled MacDonald and Chevalier (who she apparently disliked) to get back together in time for Love Me Tonight.

NOTE: Since viewing the film I have learned that the reels are misnumbered on nearly all surviving prints-- a fact which explains the otherwise baffling scene in the movie where Buchanan, who has already met MacDonald (IF you've seen it out of order), goes to work for her and she has no idea who he is. I'm not saying the movie would be radically better if it was in the correct order, but it would undoubtedly make somewhat more sense.


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