El gato y el violín

A European songwriter with classical pretensions meets an American songwriter interested in popular music. He falls madly and impetuously in love with her, while neglecting his private audience before an impresario who could give him his Big Chance. He eventually plays before him, but the older man is more interested in the girl friend. Complications ensue. The girl's song becomes a big hit, and the young man has to make his mark on his own. For a time he seems to have the help of an Older Woman, but she chooses not to ruffle her husband's feathers. A stage performance of his musical is saved by the American's intervention, performing the lead role. He wins the girl's love, after all, despite many disruptions and her last minute spurning of her older benefactor who is by now her official fiancé.

This is a painful movie to watch. Novarro plays a very annoying, very stupid character. How any woman can fall in love with him strains belief. Even a casual moralist might have trouble with the empty headed antics of the major figures. This movie may have been made before the Hays Office censors forced cuts, for the movie makers wanted to be naughty or salacious in the story line.

As for the actors, Ramon Novarro may have been able to sing, but he is not a Nelson Eddy, much less akin to any of Eddy's successors on screen (Allan Jones, Tony Martin, Howard Keel, John Raitt, etc.).

Jeanette Macdonald is wonderful. She has been a favorite of mine since I saw her on stage at Kansas City's Starlight Theater (an outdoor stage in KC's Swope Park), playing the Gertrude Lawrence role in THE KING AND I sometime in the early '50's. The music is really only so-so. "The Night was Made for Love" is the big hit, and it's laughable. Jerome Kern gets the credit for the score, but Cole Porter and Irving Berlin composed better screen music overall.

Notable for three things - the MGM debut of the lovely Jeanette MacDonald; the musical ability of Ramon Novarro, at this time on his way out of films as his star began to wane; and the Technicolour finale.

'The Cat and the Fiddle' comes to the screen from the Broadway operetta, retaining most of the already-dated songs, and a plot designed to make the most of familiar character actors of the time (Charles Butterworth, Joseph Cawthorn, Jean Hersholt).

It is definitely minor league stuff when you consider the musical legacy of the MGM studios, but definitely worth watching. The leads are good together and in excellent voice, and the film is funny, sparkling, and very much of its time.

Two struggling young composers share adjoining pensions in Brussels. A romance ensues, and they soon find themselves sharing more than just the view. When the lady finds success, the gentleman departs, seeking for fame of his own. Fate conspires to keep them apart - can they ever, like THE CAT AND THE FIDDLE, make sweet music together?

Although virtually forgotten today, this musical romance has much to recommend it, including sophisticated performances from its two stars, Ramon Novarro & Jeanette MacDonald. The lavish production values may have been the Studio's way of pumping MacDonald in this, her first MGM film. Both of the stars exude charm & handle the Kern/Hammerstein score quite nicely.

This would be their only film together. MacDonald would soon begin her celebrated collaboration with Nelson Eddy and become one of the Studio's superstars. Not so for Novarro. Although he gives a fine performance here, after only two more (negligible) films, Novarro would be released from his MGM contract. Tastes in male leads had shifted away from the Latin Lover, but also the Studio bosses were doubtless concerned that Novarro's private life might prove a scandal and an embarrassment, a la William Haines. Be that as it may, THE CAT AND THE FIDDLE would prove to be Novarro's last decent starring role.

Some very fine supporting actors appear: Charles Butterworth, as a befuddled benefactor; Jean Hersholt, as a kindly music professor; Henry Armetta, as a furious cab driver; and Frank Morgan, as a comically lecherous impresario. In unbilled roles, movie mavens will recognize Paul Porcasi, as an unfriendly cafe owner; Herman Bing, as the speechless leader of the Fireman's Band; Sterling Hollowly, as a delivery boy; and Christian Rub, as a stage actor.

Best song? `The Night Was Made For Love.' The film segues into eye-pleasing early Technicolor for the final scene.

Ramon Novarro (as Victor) is a struggling musician, trying to make ends meet, in Brussels. After delighting diners with a new composition, Mr. Novarro refuses to pay the owner for some wine, and runs away. He loses pursuers by hopping into a car, which is occupied by another poor musician, singer Jeanette MacDonald (as Shirley). Novarro is smitten with Ms. MacDonald, and woos her from his neighboring apartment. The two are drawn to each other, both romantically and professionally. On the verge of becoming a successful team, Novarro's producer Frank Morgan (as Daudet) becomes a romantic rival for MacDonald's affections.

Operetta films featuring soprano MacDonald aren't exactly my favorite of movie genres; but, this one is better than most. Stars Novarro and MacDonald are very engaging; Novarro has a couple of great, unexpected, dramatic scenes. Look for some entertaining supporting performances, too; Charles Butterworth is especially good as the "Harp Player". The film eventually becomes a total operetta, with Novarro and MacDonald singing until the end of "The Cat and the Fiddle". The last song is shown in color. The better song was "The Night Was Made for Love".

****** The Cat and the Fiddle (2/16/34) William K. Howard ~ Ramon Novarro, Jeanette MacDonald, Frank Morgan, Charles Butterworth

Charming musical/drama/comedy.

A penniless composer in Brussels named Victor Florescu (Ramon Novarro) meets American singer Shirley Sheridan (Jeanette MacDonald). He is immediately (and understandably) attracted to her. She hates him but then they start collaborating and fall in love. She becomes successful and he doesn't. Will this tear them apart?

The story is obvious from the beginning but who cares? This was MacDonald's first movie for MGM and they pulled out all the stops for her. The movie is beautifully done with lavish sets and costumes and a beautiful score. MacDonald and Novarro have no sexual charisma between them (a kiss at the end looks horrible) but they both can sing and play off each other nicely.

MacDonald is very good at acting and singing. She's beautiful and what a voice! Novarro sometimes overacts (especially at the beginning) and he doesn't look too good (he was sadly suffering from alcoholism at the time and it shows) but he still has that boyish charm and smile and he can sing very well. And there's an interesting closing sequence in VERY bright two-color Technicolor (love Novarro's green suit!).

It's well-done with beautiful sets, acting, stars and songs. This really should be better known. Also one of Novarro's best final roles before homophobia ruined his career. I give it an 8.