Monte Carlo

In fact, Monte Carlo is a nice film that left me mostly in a good mood. It does have a few fairly major flaws, starting with Jack Buchanan who is a total charmless wimp of a leading man and his chemistry with Jeanette MacDonald doesn't really convince, Maurice Chevalier would have been a much better fit. The song Trimmin' the Women is forgettable at best and embarrassing at worst, a song that really should have been left on the editing room floor, a shame because there was some clever musical choreography in it. The story also even for a 1930s musical is rather contrived with a few situations stretched to the limits in credibility. And sadly, ZaSu Pitts is wasted and strains for laughs, she's often delightful but her comic talents are just not used very well at all. As ever with an Ernst Lubitsch film Monte Carlo is a lavish-looking film with opulent period detail and attractive cinematography and Lubitsch directs with his usual class and elegant style. The songs, with the exception of one, are lovely and staged in a witty(a couple alternatively intimate) and light as a feather way, the memorable scene being the tear-jerking Beyond the Blue Horizon staged on a moving train. Give Me a Moment Please is very amusing as well and the most story-enhancing of the songs. The dialogue is sweet and funny with some nice interplay between the actors, the supporting performances are solid enough but other than the songs Jeanette MacDonald is the best thing about Monte Carlo. She is effortlessly charming and feisty and her voice while not large is beautiful in tone and shaped with tasteful style and phrasing. All in all, Lubitsch is nowhere near his best here(Heaven Can Wait, the Merry Widow and particularly The Shop Around the Corner are much preferred) but while problematic Monte Carlo is not a bad film at all, lesser Lubitsch but Lubitsch when not on best form is better than most other directors in the same position. 7/10 Bethany Cox

Though a bit flawed, "Monte Carlo" is still one of Ernst Lubitsch's most dynamic and inventive musicals. A follow-up to Lubitsch's delightful "The Love Parade", "Monte Carlo" regains Jeanette MacDonald but unfortunately it lacks Maurice Chevalier whose Gallic, continental charm was one of the things that made "Love Parade" (and also Lubitsch's later sublime musicals - "The Smiling Lieutenant", "One Hour with You" and "The Merry Widow") such a joy to watch.

Still, it has one priceless musical number: Jeanette MacDonald rendition of "Beyond the Blue Horizon" while riding a train - a sequence so inventive and spectacular that you forget the rest of the film. It is powerful enough to make the whole countryside alive with song and elation. The song will stick with you long after you completed watching the film.

Frank Tashlin pays an homage to this sequence in his hilarious 1956 musical "Hollywood or Bust": a number called "A Day in the Country", a duet between Dean Martin and Jerry Lewis.

MONTE CARLO (Paramount, 1930), directed by Ernst Lubitsch, starring Jack Buchanan and Jeanette MacDonald, is a witty, sophisticated musical comedy with continental charm, which at times resembles some of the latter films starring Fred Astaire and Ginger Rogers for RKO Radio. Lubitsch, who had recently scored a big hit with MacDonald in THE LOVE PARADE (Paramount, 1929), once again uses her to good advantage, presenting this promo dona as not only a good singer, but a fine comedienne. Although MacDonald would be charmed by Chevalier's smile in three more musicals, this would be her only venture opposite the British import of Jack Buchanan, whose career in early Hollywood musicals (1929-1930), would be short-lived. Although debonair, he failed to click with American audiences, and would spend most of his career in his native England on both stage and screen. Maybe his occasional but sometimes annoying laugh in this production might have found 1930s audiences finding that he is no threat to Chevalier's charm and smile, but on and all, he gets by. Today, Buchanan is best known for his latter Hollywood role supporting Fred Astaire and Nanette Fabray in the lavish Technicolor 1953 musical, THE BAND WAGON.

The story begins during a rain storm where a wedding is about to take place. The stuffy Prince Otto Von Leibeneheim (Claude Allister), the husband-to-be, is awaiting at the church for his future bride, Countess Helene Mara. As the choir sings, Otto receives a "Dear John" letter from Vera, making this the third time that he has been stood up by her. The next scene finds Vera, still wearing her wedding gown, accompanied by her maid, Bertha (ZaSu Pitts), running to catch the next train. Because she is down to her last francs, she decides to make her next stop to Monte Carlo and try her luck at the gambling tables, with much success. While there, she encounters Count Rudolph Fallieres (Jack Buchanan), a ladies man who becomes interested in her. Feeling that caressing her hair will bring him luck at the gambling tables, Rudy succeeds in keeping his identity a secret and getting her to hire him as her hairdresser, later promoted to be her personal servant and chauffeur. Eventually love blossoms, until Prince Otto locates her.

Being mainly a production that consists only of singing, with music and lyrics by Richard Whiting, W. Franke Harling and Leo Robin, the tune fest musical program is as follows: "Day by Day" (sung by church choir); "She'll Love Me and Like It" (sung by Claude Allister and wedding guests); "Beyond the Blue Horizon" (sung by Jeanette MacDonald); "Give Me a Moment Please" (sung by Jack Buchanan and Jeanette MacDonald); "Trimmin' the Women" (sung by Buchanan, Tyler Brooke and John Roche); "Whatever It Is, It's Grand" (sung by Buchanan and MacDonald); "She'll Love Me and Like It" (reprise by Claude Allister, sung by MacDonald); "Always in All Ways" (sung by Buchanan and MacDonald); "Give Me a Moment Please" (reprise by Buchanan); "Always in All Ways," "Monsieur Beauclair Opera Sequence" (with selections sung by Donald Novis); and "Beyond the Blue Horizon." In spite of "Beyond the Blue Horizon" being the film's most remembered and admired song, the one that would obviously get an Academy Award nomination had the Best Song category been around in 1930, "Always in All Ways" is also a delightful tune that shouldn't go without mention. It's even the underscore heard during the movie's opening screen credits and closing THE END logo.

MONTE CARLO also includes a running gag throughout the story in which some members of the cast tell each other a riddle: "She comes from a wedding, she has nothing on, she left her husband behind, she has no ticket, she has no idea where she wants to go, and she goes to Monte Carlo. How old is the husband?" Eventually, when this riddle reaches poor Otto, it slowly but finally dawns on him that it's pertaining to Vera and himself when he goes to tell this same riddle to another.

Regardless, MONTE CARLO, looks strictly modern with its lavish sets and advanced camera technique. In fact, it looks even better than the previous Lubitsch/MacDonald collaboration of THE LOVE PARADE or anything else from 1929. The only slow spot is the final ten minutes set during its prolonged opera theater sequence, but otherwise, a grand show not to be missed. If the story and leading man are forgettable, the sequence where MacDonald sings "Beyond the Blue Horizon" from her window of the train while looking at the countryside, with others such as farmers joining in the rendition as the train passes by them, will remain in memory long after the movie is over. Seldom broadcast since New York City's public television showing on WNET's Cinema 13 during the 1980s, MONTE CARLO has turned up on DVD around 2009 before having its long overdue cable television broadcast on Turner Classic Movies (TCM premiere: December 21, 2012). How fortunate that this, among many films of the early sound era, have not to be among the "lost" movies from that bygone era. (****)

Even minor Lubitsch rates a 7. His comedic sensibility was unique in its poetry and effortless sophistication.

One doesn't expect an iron-clad plot in musical comedy, but MONTE CARLO's fails to fulfill even the minimal requirements of the genre. It simply makes no sense and creates no tension, erotic or otherwise. A nobleman falls for a runaway countess, and for absolutely no reason he pretends to be a commoner for the duration of the film.

Lubitsch is normally so good at plot construction, it's surprising that this one is so flat. Zasu Pitts, who can be so delightful, makes no impression here. Even the dialogue discouragingly fails to sparkle.

The film's other problem is the leading man, Jack Buchanan, who simply doesn't come across well on-camera and has absolutely no chemistry with MacDonald. Compared to the robust, lusty Maurice Chevalier in other Lubitsch/MacDonald films, Buchanan here is fey and sexless. MacDonald does her best, though, and acquits herself well.

No Lubitsch film is without its pleasures. It's worth seeing, but it's no MERRY WIDOW.

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.