Parade d'amour

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.

THE LOVE PARADE (Paramount, 1929) directed by Ernst Lubitsch, stars Maurice Chevalier in his second Hollywood musical (the first being 1929s "Innocents of Paris") and his first of four opposite Jeanette MacDonald in her screen debut. Jeanette plays Queen Louise of the Kingdom of Sylvania who immediately falls in love with Count Alfred Renard, a popular ladies' man, and soon marries this Parisian emissary in order to negotiate a loan from foreign power. After they wed, Alfred soon finds married life isn't what he has hoped, having to take orders from his wife as well as being second fiddle around the kingdom.

In spite of its age, THE LOVE PARADE is still quite entertaining early sound musical, consisted mostly of songs and limited dancing. With score composed by Victor Schewrtzinger and Clifford Grey, songs include, "Oo-La-La-La-La" (sung by Lupino Lane); "Paris, Stay the Same" (sung by Maurice Chevalier); "Dream Lover" (sung by Jeanette MacDonald/ ladies-in-waiting); "Anything to Please the Queen" and "My Love Parade" both sung by Chevalier and MacDonald); "Dream Lover" (reprise by MacDonald); "Let's Be Common" (sung by Lupino Lane and Lillian Roth); "The March of the Grenadiers" (sung by MacDonald); "Nobody's Using It Now" (sung by Chevalier); "The Queen is Always Right" (recited by Roth and Lane/ staff); "Dream Lover" (reprise by MacDonald); "March of the Grenadiers" (reprise by soldiers); and "My Love Parade" (reprised by MacDonald and Chevalier).

Running ten minutes shy of two hours, THE LOVE PARADE was nominated for an Academy Award as Best Picture, with Chevalier's nomination for Best Actor, but no wins. Other members of the cast consist of Eugene Palette, Edgar Norton, Ethel Griffies and Lionel Bellmore. Look fast for silent comic Ben Turpin in a funny bit; and future film stars as Virginia Bruce as the lady-in-waiting, and Jean Harlow as one of the patrons in the ballet theater.

Formerly presented on the American Movie Classics cable channel (January 1989-September 1996), AMC's host, Bob Dorian, noted an interesting piece of trivia that THE LOVE PARADE was the only movie in which Jeanette MacDonald smoked a cigarette on screen. Finally distributed to DVD in 2009, THE LOVE PARADE returned to cable television broadcasting once again, being Turner Classic Movies where it premiered February 3, 2010, with added bonus of two minute exit music in its fadeout.

Full of comedy wit and unexpected surprises in the Ernst Lubitch tradition, THE LOVE PARADE is still worthy film study and entertainment value after all these years. (***)

Poor Queen Louise – when she is awakened by her attendants she has been dreaming of love but must face another day in the Kingdom of Sylvania without a husband. When an errant military adjutant is recalled from Paris to face her censure she falls for his charms and he for hers, and they marry. But the Queen's new husband is unhappy in the role of obedient consort. Conflict arises but is eventually resolved, as we know it will be in operetta land.

This early Lubitsch musical rates about the same as MONTE CARLO made a year later. The highlight here is the performance of Maurice Chevalier as the consort, a sort of pre-Cary Grant Cary Grant, Gallic style. He has the same effortless magnetism and charm and a certain physical resemblance. Jeanette MacDonald is as good here as in MONTE CARLO, handling songs and dialogue with equal aplomb and looking gorgeous in her filmy gowns. As is usual with Lubitsch, there is a superior supporting cast, here including the formidable Lupino Lane as Chevalier's valet, a sassy and brassy Lillian Roth as Lane's love interest and Edgar Norton as the "Master of Ceremonies," the personification of royal lackey. Another Lubitsch hallmark, the measured depiction of ritualistic daily activities, gets much display in the context of the protocols of a royal palace. The songs by Victor Schertzinger and Clifford Grey are only passable and the primitive sound recording doesn't help in getting them across but the tone of the whole enterprise is so frothy and pleasant that one doesn't mind not hearing all of the lyrics.

When you compare this film to other musicals from the dawn of the sound era like Broadway MELODY the difference is glaring. Lubitsch's camera is liberated and fluid and we get an assortment of physical approaches to song and dance numbers which themselves vary in style from pompous operetta-military to musical hall slapstick to Gilbert-and- Sullivanesque call-and-repeat choral to intimate romantic duets. There is a hint of LOVE ME TONIGHT in some of the ensemble work, particularly with the palace staff. And the script is studded with witty observations and clever comic constructions, some via dialogue, some through pure visuals. THE LOVE PARADE illustrates that in 1929 Rouben Mamoulian (APPLAUSE) was not alone among film directors in recognizing the value of sound as an artistic element and in refusing to subordinate the freedom of the camera to the dictates of miking.

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