That Girl from Paris

It does have one scene of note. Pons plays an opera singer hiding out with a jazz band. The band knows nothing of her identity. She sabotages their singer (Lucille Ball in an early role) and is forced to go on stage as a substitute. Well, she only knows opera; the band only knows jazz. She sings "The Blue Danube" with both her and the band segueing from classical singing to jazz and back. It's a really delightful number, very inventive. If the movie is ever on TCM or AMC, it's work a look just for that

Don't be put off by other negative critiques. Forget that Lily Pons was a highly regarded opera singer, or that somehow she condescended to appear in a movie. I don't know for sure, but I suspect that Pons was offered a great deal of money by RKO to make the three movies she made.

She gives a fine performance both acting and singing. The plot is typical 1930s fare, and I thought it amusing and better than average. I find Pons's characterization very charming.

As for Pons being tall and willowy, the lady was a petite 5 feet tall (see IMDb bio), but she sure had a superior voice in that little body. The "pop" tunes she was given to sing in this film were written with an operatic voice in mind, requiring a large range to sing.

No other mention has been given to Lucille Ball's very, very funny comedic dance. Her character is sabotaged with a pair of soaped-up dancing shoes, causing her to slip and fall every time she tries to dance. I've watched this over and over and I laugh out loud every time I see it. It takes a very good, well-trained dancer to be able to fall down as much and as well as she did.

Gene Raymond, in a slightly different role....usually, he chases girl, uses trickery to date girl, girl treats him like dirt, and suddenly she can't live without him. Here, girl chases him! This one was oscar nominated, but before you get too excited, it was only for best sound recording. At the opening, french girl Nikki abandons her groom, and drives away, singing like mad. Lily Pons, the famed coloratura, according to her bio on imdb. every couple minutes, she breaks into song, which gets SO annoying, since its so florid and so high. now the whole crowd is singing along, and playing a game where they pass the cork from nose to nose... must be a french thang. This was one of only FOUR acting roles for Pons, as she spent most of her time performing. Jack Oakie is the wacky sidekick. and Jimmy Dorsey is one of the band members, according to the cast list. Lucy is "Claire" ! so much time spent hiding the girl. and more singing at the highest octave possible. ouch. On the plus side, there are some clever gags in here. Lucy does her pratfalls, while the guys try to hide the stow-away, and the restaurant owner cleverly mixes up his english, Marx Brothers style. and a fun song "Our nephew from Nice". I would have preferred more plot and less singing by Pons, but they didn't ask me. It's not bad. Not Great, but not bad. Directed by Leigh Jason. Jason had also directed one of my favorite films "The Bride Walks Out", hilarious film, also with Gene Raymond.

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.

OK movie, but nowhere near as good as "I Dream Too Much" (1935). This one is too messy and the songs selected were not songs the general public could identify with. Jeanette McDonald and Nelson Eddy only hit it big because they did "Ah! Sweet Mystery of Life", a popular song that everyone knew. That's what this movie is missing. All the operatic screaming up and down the octaves is not pleasant -- songs that the public knew or ones that had distinct popular melodies would have made her movies top drawer entertainment.