The King and the Chorus Girl

King Alfred VII (Fernand Gravey) was deposed and now has little to do with himself but drink himself into oblivion and go to the Follies. His purposeless life is going to kill him if something doesn't happen soon. This something is one night when he does his typical routine---go to the Follies and get drunk. So how does it end up different and how does Dorothy (Joan Blondell) help him snap out of his ennui? And what do the ex-King's two most loyal retainers have to do with this?

This film has a most unusual writing team...Norma Krasna and Groucho Marx. Yes, THAT Groucho Marx! I had no idea he'd co-written a film. You really can't tell it has the Groucho touch, but it is a nice little romance. It also helps that Edward Everett Horton was there for support-- he's always grand in anything. Overall, cute and well worth seeing.

Overlong but fun to watch. Joan Blondell has great skill and beauty while Edward Everitt Horton's flutters and double takes always lift a film

This movie is an absolute delight and I cannot believe it's not considered a minor classic. Joan Blondell and Fernand Gravey have an incredible chemistry - so many reviewers have talked about how witty and sexy Blondell is in this movie, but so is Gravey (grrrr!)! I kept laughing out loud, and when I looked up the movie here to read more about it and saw that it was co-written by Groucho Marx, so many things made sense as to why the banter is so witty. Solid supporting cast - Edward Everett Horton is awesome as always, but Alan Mowbray in this comic role is also a delight. What an incredibly under-rated movie - definitely my favorite of all the many, many royalty-falls-in-love-with-commoner films.

This very amusing picture justifiably sits alongside the absolute best of the Fred and Ginger or Jessie Matthews romantic comedies. It's also a lot more fun than THE PRINCE AND THE SHOWGIRL. The silly story and the characters are believable enough to fully engage with - you feel involved.

There were there people who scoffed haughtily at this at the time. It was accused of being formulaic, predictable and corny. Well of course it is - that's what makes so brilliant!

Yes, it is formulaic - it's honed and tuned to perfection so that you know exactly what you're going to get. It was known what boxes needed ticking to make a classic rom-com, and that's just what you get with this.

Yes it's also predictable but that gives you that reassuring comforting feel. You're not going to get stressed watching this, whatever silly challenges and obstacles arise, you know they'll sort it out by the end.

Corny? Yes but not in a sugary, sentimental way. When made properly by a top director such as Mervyn LeRoy and co-written by Groucho Marx, corny can be funny.

Joan Blondell enjoyed the opportunity to do something a little different and with a bigger budget to what she was often in and you can sense her new found energy and enthusiasm. She is perfect in the role and from the moment she appears you're fully on board. For the next hour and a half, your entire life exists just to make sure she gets the happy ending she deserves.

Fernand Gravey is also perfect as the bored, over-entitled deposed young king. Despite all the cliches, he gives character absolute authenticity. He's actually more believable (and certainly more likeable) as a troubled monarch than that Edward VIII chap who was making all the headlines at this time.

I really only know FERNAND GRAVET from his playing of Johann Strauss in THE GREAT WALTZ and was not overly impressed with his by-the-numbers impersonation of the great music master.

So, truth be told, I wasn't expecting much from this little comedy co-starring him with JOAN BLONDELL, another so-so actress who occasionally had a bright role to play in films like A TREE GROWS IN BROOKLYN but usually had to be content with less than impressive roles in screwball comedies of the '30s and '40s.

Considering that the script for THE KING AND THE CHORUS GIRL is penned by Norman Krasna and Groucho Marx, it's a shame the material lacks the sort of wit to be expected when those two minds collaborated. Let me put it this way--Gravet is supposed to be able to sit through a show with his eyes wide open but asleep. That's the way I felt forcing myself to stay with this "comedy".

He sits patiently through KENNY BAKER's tenor solo at a nightclub in Paris on a huge art deco set but is soon transfixed by flirtatious bit of business from JOAN BLONDELL as a chorus girl flashing a mirror beam at his face and promptly decides he wants to have dinner with her.

Blondell is introduced to EDWARD EVERETT HORTON as a Count and MARY NASH as a Duchess before her dinner date with Gravet, as King Alfred VII. The trouble is the bored king has fallen asleep.

There's such a lack of wit in the writing that you may fall asleep too. Hard to believe that with this pleasant cast, Krasna and Marx couldn't do better. It's a screenplay that strains to be funny--but isn't.

Gravet is more animated than usual in comedy, but is most convincing when he's bored. Blondell is prettily photographed and pleasant as the chorus girl but it's a role that's no stretch for any young actress.

Wasted in a supporting role is JANE WYMAN (with French accent), who would later do another little Krasna comedy called PRINCESS O'ROURKE in a much better supporting role.

The slim plot depends upon Blondell's resistance to the King's charm, determined as she is to be as unimpressed as possible. Their first meeting ends disastrously with Blondell finding his behavior boorish. It's the sort of theme that was much better done years later with Marilyn Monroe and Laurence Olivier in THE PRINCE AND THE SHOWGIRL.

Summing up: Fernand Gravet tries hard but he's no Cary Grant in screwball comedy--and both he and Blondell needed a better script!