Parade d'amour

Count Alfred (Maurice Chevalier) has disgraced his home country of Sylvania with one too many scandalous affairs with married women, and the ambassador of Sylvania commands him to return home. Alfred's manservant, Jacques (Lupino Lane), begs to come along, and his master relents. Alfred, burdened with a newly acquired French accent that makes him sound most un-Sylvanian, fears the wrath of his queen (Jeanette MacDonald). But instead of having him shot, she falls in love with him, and he with her. The entire kingdom, which has had nothing on its mind except seeing the queen get married, is thrilled. As Jacques and Lulu the maid (Lillian Roth) conduct their own romance, reveling in their commonness, Alfred discovers at the altar that his own marriage will be most uncommon - and a dire threat to his manhood. He may be marrying a queen, but he most definitely won't be a king.

Ernst Lubitsch directed this marvelous technical and artistic achievement back when other early sound films were still stumbling along. Four outstanding performances from four witty and charming performers (Chevalier, MacDonald, Lane and Roth) grace this lavishly produced musical comedy with its champagne-bubble songs and sexually-charged dialogue.

An early musical (Ernst Lubitsch's first talkie), so the sound can be hard on the ears (especially Jeanette MacDonald's high notes). The plot as such is forgettable, but see it for the performances.

It seems odd to match Jeanette MacDonald's operetta singing with Maurice Chevalier's cabaret, but each gets their own numbers and they join in the middle for duets.

Lupino Lane and Lillian Roth do two wonderful vaudeville style song and dance numbers.

It was really the film that established Maurice Chevalier and Jeanette MacDonald as a musical comedy team - the first one of the American talkie period. They would make four films in the end (THE LOVE PARADE, ONE HOUR WITH YOU, LOVE ME TONIGHT, and THE MERRY WIDOW). Four first rate early musicals... and they did not like each other! Jeanette rebuffed Chevalier's attempts at a closer relationship (she only liked Gene Raymond, whom she later married). He considered her a prude and hypocrite as a result. So, despite their stunning screen chemistry and string of successes their partnership faded. Nelson Eddy was waiting in the wings for her to find the proper partner.

Chevalier is a Count who has been returned from a diplomatic post for a sexual scandal. The country is ruled by Queen Jeanette, and when she meets the charming Maurice she falls for him. They marry, but he finds that (under the guidance of her Prime Minister - Lionel Belmore - and his cabinet) she puts him aside on matters of ruling the state. Chevalier, normally the aggressor in sexual matters and in putting his own ideas out, does not like the self-image of being the boy-toy husband of the ruler of his native country. His idea would be more like that of Prince Albert, Queen Victoria's husband, who became her chief adviser on political matters after their marriage. Here, however, while everyone is polite to him, they make it clear that constitutionally he is not to be involved in running the government.

The film is a charming one - full of those "Lubitsch touches". For example, Chevalier's growing anger and impatience at his political uselessness is first shown when he asks one of the courtiers (who has just politely put him in his place), "Do you understand French?" "No, I'm afraid I don't.", says the courtier. Chevalier, with perfect timing, shoots out a long, furious diatribe of French, which one can tell is gutter language, to show his fury at his position - much to the dismay of the courtier. Later on, when the Prime Minister also puts down Chevalier's attempts at advice, he smiles and asks the Prime Minister, "Excuse me, but do you speak French?" Belmore looks at him puzzled, "Yes I do speak French." With an eat dirt smile, Chevalier says, "What a pity!" In the end, it is a financial crisis (which with typical Lubitsch humor can only depend on the foreign investors in Sylvanian securities, all of whom have to observe the reactions of the Afghan Ambassador - bearded Russ Powell - to a court function) that gives Chevalier his chance. Chevalier will only show his true love for his wife if she and the cabinet give him a voice in public affairs like Prince Albert had. And they give in.

It would not be the last visit Hollywood paid to Sylvania. Unlike other Balkan pseudo-states, it actually reappeared four years later, though under more "sinister" circumstances. In 1933 the Sylvanian Ambassador to a neighboring country tried to use underhanded means to bring about it's annexation by his homeland. However, Ambassador Trentino (Louis Calhern) did not count upon the Dictator of Freedonia (Rufus T. Firefly - Groucho Marx) and his three brothers to force him to surrender in a barrage of vegetables and fruit in DUCK SOUP.

As covered in previous comments The Love Parade is important historically, with it being Jeanette MacDonald's debut, Maurice Chevalier's second film, director Ernst Lubitsch's first sound picture and Chevalier and MacDonald's first pairing together. But The Love Parade still does manage as well to be, apart from some primitive sound quality, a great film and compares favourable within Lubitsch's mostly consistent(in a good way) filmography.

The costumes and sets in The Love Parade are wonderfully opulent and the photography is very stylishly done. Lubitsch's distinctive style is evident all through the film, bringing a huge amount of class, subtlety and elegance. What he also did brilliantly was making camera and sound effects more flexible counterpointing the music numbers, and also even for his first sound picture having a technical mastery already with apparently having two sets built for one number shot simultaneously with the orchestra off screen between the two sets, going back and forth in the editing, something that had never been done before. The songs are very pleasant and memorable at least, with the beautiful and catchy duet My Love Parade, the charmingly intimate Dream Lover and the hugely entertaining Let's Be Common faring the best. The choreography's elegant and poised and in other places witty and inventive, the highlight number in this regard being Let's Be Common.

The script was one of my favourite things about The Love Parade, it was very sophisticated and deliciously witty, particularly funny was the writing regarding the Count's political uselessness. There's even some sexual innuendo that was very ahead of its time back in 1929. The story is full of immense charm and sophisticated style with a seductive edge, not ever making the mistake of being dull or improbable(and if it did really it would not be as glaring as the story in Monte Carlo). The characters are very likable and the performances from all four leads do not disappoint at all. Noteworthy especially were MacDonald whose screen debut was a revelation being both sexy and regal and singing like an angel and Lupino Lane whose incredible physical comedy is enough to make one seethe with envy. Sassy Lillian Roth sparkles as Lane's partner and Chevalier is the epitome of Gallic warmth and charm. The chemistry between him and MacDonald beguiles and for two relatively different singing styles they blend remarkably well when singing together.

Overall, a great film. While I may prefer The Merry Widow, Heaven Can Wait, The Shop Around the Corner and especially Trouble in Paradise over The Love Parade it is unsurprising that The Love Parade was a huge hit at the time and still wins over people now. 9/10 Bethany Cox

The Love Parade which was Maurice Chevalier's second feature film is as fresh today as it was in 1929 when it garnered a whole flock of Academy Award nominations. It was Paramount's prestige film of the year, in fact I'm not sure if any other Paramount features got any nominations for anything that year.

It was Ernst Lubitsch's first sound feature film and apparently the man with the famed Lubitsch touch hit the ground running in the new medium with a bunch of players who were also fresh to cinema because of the coming of sound. This was Jeanette MacDonald's film debut and while she's not billed over the title as Chevalier was, her part is every bit as important and as big as his.

Maurice Chevalier has been cutting a wide swath among the ladies of Paris where he's attached to the embassy of Sylvania. So much so that he's been recalled to Sylvania for a reprimand or so he thinks.

Jeanette MacDonald is the new young Queen of Sylvania and she's got to marry for reasons of state. As did many a female monarch, British ones like Victoria, Anne, and the two Marys all took husbands for reasons of state and the method they chose them was as much political as anything else. Only Elizabeth I managed to escape the marriage obligation.

While her diplomats look askance on Chevalier's romantic antics, Jeanette sees in him one grand candidate for marriage. If she's got to get married for reasons of state by God she's going to pick a husband who's going to be ready to romp at a royal command.

The Love Parade's musical score was written by Victor Schertzinger and Clifford Grey. The first notes Jeanette MacDonald ever sang on screen were from her hit song, Dream Lover. It's not the same song as Bobby Darin had a hit in the Fifties from. Film fans will recognize it as the flying theme that Cecil B. DeMille used as background music when Betty Hutton and Cornel Wilde were on the trapeze in The Greatest Show On Earth. Jeanette also sings March of the Grenadiers as she reviews her palace guard.

Chevalier's two big numbers were Paris Stays The Same and My Love Parade from whence the title comes. Both were written to suit his grand boulevardier style. Some comic numbers were written for Lupino Lane and Lillian Roth who are the second leads. Lupino is Chevalier's orderly and Roth is one of her maids. They make a cute pair with their impish behavior, aping their masters.

The Love Parade got six Oscar nominations, but did not win in any category and the categories were a lot fewer back in the day. It was up for Best Picture, Best Director, Best Actor for Maurice Chevalier, Best Sound Recording, Best Art Direction, and Best Cinematography. It also has a lot fewer overacted performances that were the norm in those early sound days. It was as if Ernst Lubitsch instinctively knew what to do with sound in film.

The story is about a Prince Consort and usually the model that is held up is that of Prince Albert for Queen Victoria. But that's not the road Chevalier wants to take.

It's a continental story and yet Lubitsch as he always did, made those stories appealing to American audiences. After 80 years, The Love Parade is still appealing.