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8 user 2 critic

That Girl from Paris (1936)

Nikki Martin, a parisian opera star, takes off in search of adventure and true-love leaving her arranged husband to be at the alter. While hitchhiking, Nikki meets handsome American ... See full summary »

Director:

Leigh Jason

Writers:

W. Carey Wonderly (story "Viennese Charmer" in Young's Magazine) (as J. Carey Wonderly), Jane Murfin (story) | 3 more credits »
Reviews
Nominated for 1 Oscar. See more awards »

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Cast

Complete credited cast:
Lily Pons ... Nicole 'Nikki' Martin
Jack Oakie ... Whammo Lonsdale
Gene Raymond ... Windy McLean
Herman Bing ... 'Hammy' Hammacher
Mischa Auer ... Butch
Lucille Ball ... Claire 'Clair' Williams
Frank Jenks ... Laughing Boy Frank
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Storyline

Nikki Martin, a parisian opera star, takes off in search of adventure and true-love leaving her arranged husband to be at the alter. While hitchhiking, Nikki meets handsome American musician, Windy McLean and his band the 'McLean Wildcats'. Windy immediately spites her, but Nikki falls in love with him and follows him to New York by stowing away on the ship his on. The steward finds her hiding in Windy and the Wilcats room. She is locked up by authorities and Windy and the band are fired. When the ship reaches New York, Nikki escapes off the ship and finds out the Wilcats apartment. They demand her to leave, fearing being implicated but she refuses. Clair, Windy girlfriend shows up with Hammacher, and offers the band a low paying job at a roadhouse in another city. Anxious to depart, they accept. Nikki becomes the bands singer. Clair becomes jealous and reports her to the authorities, causing the band to flee again... Written by Kelly

Plot Summary | Add Synopsis


Certificate:

Approved
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Details

Country:

USA

Language:

English | French

Release Date:

1 January 1937 (USA) See more »

Also Known As:

A Parisiense See more »

Company Credits

Production Co:

RKO Radio Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Victor System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

In the beginning of the film, Pons' character escapes her wedding in a non-supercharged 1936 Cord Phaeton. The Indiana-made car, which cost about $3,700 was rare even when new and exotic enough to look like it belonged in the movie which begins set in France. See more »

Quotes

Whammo Lonsdale: [three musicians, in jail for aiding a foreigner's entrance in the country to help her singing career, are reading about her marriage in the newspaper] And to think, she started wid' us. We give her her first break.
Laughing Boy Frank: And now, we're takin' the rap for it.
Whammo Lonsdale: Yeah, she's been playin' us for suckers all along. She's been engaged for six months.
Butch: [in typical form, Butch always resorts to his unconventional political views] And to a financier, which proves that at heart, all women are capitalists.
See more »

Connections

Version of Four Jacks and a Jill (1942) See more »

Soundtracks

The Call to Arms
(1936)
Music by Arthur Schwartz
Lyrics by Edward Heyman
Sung by Lily Pons and diners at the French restaurant
See more »

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User Reviews

Questionable strategy
24 February 2005 | by jaykay-10See all my reviews

Perhaps it made sense from a commercial standpoint: bringing a great lady of the opera, Lili Pons, to a level at which the public could more easily relate to her - perhaps even to identify with her in some respects. The result, ideally, would have been to create a leading lady in films who sang divinely as she was surrounded by "us." Miss Pons gave it her best try - here and elsewhere - but it just didn't work. Most unfortunately, the filmmakers effort to generate the common touch involved presenting her in the most commonplace outfits, makeup and coiffure, downplaying the "glamour" associated with grand opera. Supporting her with the buffoonery of Jack Oakie and his cohorts, having her hiding under blankets, climbing here and there, etc. doesn't register either. Though no beauty, Lili Pons can radiate elegance and charm (along with her great vocalizing), as she does, in full costume, when she sings "Una voce poco fa" in this picture. Her movies don't give us enough of the Lili Pons that made her a stage presence, and might have made her a screen presence. To have her play against (her own) type - here and elsewhere - was a mistake.


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