When Parisienne tailor Maurice Courtelin learns that one of his aristocratic clients, the Viscount Gilbert de Varèze, is a deadbeat who never pays for the merchandise he acquires, he heads off to try and collect what is owed to him. He gets little in the way of cash from the Viscount who is desperate that his uncle, the Duke D'Artelines not learn of his debts. He suggests that Maurice spend a little time at the chateau until the money can be found. The Duke takes an immediate liking to Maurice - who's been introduced as a Baron - but that's not the case for the Princess Jeanette who, after an encounter with him him on the road earlier that day. Over time Jeannette falls in love with himWritten by
MPAA/PCA files at the AMPAS Library reveal that while most of the songs in the film were approved prior to release, the Hays Office objected to the suggestive nature of the song, "A Woman Needs Something Like That," although it was left in the film. Jesse Lasky, Jr. responded in a letter to the MPPDA's concern about the line "Must we sleep tonight all alone?" in the song "Love Me Tonight," by noting that the line had been changed to "Let's drink deep tonight all alone." Concern that French Royalists might take offense to the film prompted the Hays Office to give a copy of the script to the Los Angeles French consul, Henri Didot. Based on Didot's comments, it was determined that only the scene in which the princess strikes a servant should be deleted. In addition, Didot maintained that as long as the duke and princess were not implied to have royal blood, the film should not give offense. The film was rejected in Czechoslovakia, approved without eliminations in Quebec, New York and Kansas, and approved with eliminations in Australia, Britain, Chicago, Ontario, British Columbia, Ohio, Alberta, Pennsylvania and Massachusetts. See more »
The lighting on Jeanette during the balcony scene. See more »
The reissue version, released after the Hays Code went into effect in 1934, omitted Myrna Loy's reprise of "Mimi", because while she sang it she was wearing a suggestive nightgown. Several other potentially suggestive moments were also cut and have never been restored. See more »
I have watched this movie in part several times, but caught it tonight on TCM or from my DVR of a recent showing. It is a special one, and was interested in checking out these magnificent sets created for it. They were wonderful.
Liked Chevalier in this particularly. I agree with the reviewer who finds Jeannette McDonald's singing a bit of a trial. I don't care for most opera type singing. Get ready for some corn here: Was reminded of something Andy Griffith said about opera singing (from a comic recording), "Some people say opera is just hollerin', and it is; but it's high class hollerin'." It comes across that way to me. That quote may offend the cinematic detail oriented enthusiasts of this film - sorry.
However, I have enjoyed a few old operettas, thinking of "Sweet Kitty Bellairs" from 1930 featuring Claudia Dell and Walter Pidgeon. Ms. Dell was easier on the ears than Ms. McDonald. Pidgeon's singing was pleasing, and I found the piece entertaining.
In watching C. Aubrey Smith in this, I thought for the umpteenth time whether he was born an old man. He is always ancient in every movie I have ever seen with him. Actually, his Hollywood films were done in his elderly years. Finally looked him up and found he was born in 1863. Wow. He did London stage, Broadway and came to Hollywood much later. He died in California at age 85.
This is a good film and has interest for its genre. It is probably my favorite Chevalier. It was odd seeing Charles Ruggles in this. They were talking about Myrna Loy during the intro to the movie, saying this film may have begun her being used in something other than the Oriental evil women or vamp types. Only a few people were making the decisions on casting back then in the studio system, and thankfully, they finally broke her out of that old mold and began to find out how engaging she was as a wife and later as a comedienne.
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