Desiderio di re

Grace Moore stars as a feisty younger daughter of the eccentric Duke of Bavaria (Walter Connolly) whose oldest daughter is off to Vienna to marry the Emperor (Franchot Tone). Moore follows along, masquerading as a dressmaker. The arranged royal marriage when Tone spies Moore and is smitten. The masquerade continues in a merry mix-up until the finale.

Moore is good here, light and comic, but the songs are all rather bland. Tone is handsome as the Emperor, and Connolly steals the show as the beer-guzzling duke. Co-stars include the wonderful Herman Bing as proprietor of the inn, Elisabeth Risdon as the Empress, Nana Bryant as the mother, Frieda Inescort as Helena, Victor Jory as Palfi, Eve Southern as the fortune teller, and Johnny Arthur as the inept chief of police. Others include Thurston Hall, Raymond Walburn, Al Shean, E.E. Clive, William Hopper, and George Hassell.

Moore had a hit-or-miss 9-film career in the 30s, She flopped badly in her 1930 debut in A LADY'S MORALS but had a big hit and an Oscar nomination for ONE NIGHT OF LOVE in 1934.

And yes, Broadway Superstar Gwen Verdon made her film debut here as a ballerina. She was 11 years old.

I've always liked Grace Moore in movies, though I'm not quite sure why. She wasn't the greatest singer, and she had some annoying vocal mannerisms. But she certainly sang with enthusiasm, and that is probably what I've enjoyed about her film appearances.

Sometimes, as in her first success, One Night of Love, the singing was spirited but her delivery of dialog often stilted. That's not the case in this movie. She really comes across most often as very comfortable and natural, qualities that her co-star, Franchot Tone, had in spades. That, I think, is what makes this movie work for me. They are very good in their scenes together, very believable.

What remains a problem for me is the musical aspect of this movie. Others have complained that the songs aren't memorable. For me some are, like The Old Refrain, others not. But the big problem, for me, is that all the musical numbers, with the exception of one march, are vocal solos for Moore. (The march is sung by a men's chorus with Moore singing over them.) Because none of the other characters ever join in the singing, the musical numbers seem isolated from the rest of the picture, and it comes off less as a musical than as a romantic comedy with inserted songs. If you contrast it with a Jeannette MacDonald/Nelson Eddy or Maurice Chevalier picture from the same era, you see the difference.

The plot, as Viennese operettas go, isn't bad. The supporting actors are all good, though I agree that a little of Herman Bing goes a long way, and there is more than a little of him here.

All in all, an agreeable romantic comedy, with inserted songs that don't do anything to advance the story and could, indeed, be cut out without any loss in most cases.

This one is tough to honestly evaluate. On the one hand you have Grace Moore and her wonderful voice, able and adequate supporting roles, notably by the always reliable and graceful Frieda Inescort, Franchot Tone and Walter Connoly, and of course Sternberg's direction. For me at least that's reason enough to watch any movie, even this one which in some ways is an utter disaster. On the other there's just too much silliness, foolishness and Herman Bing. He can be aggravating enough even in small doses but he does way too much of that trademark tongue rolling and quaking of his for my taste.

And then there's the ages of the real Sisi (Moore's character, Elisabeth of Bavaria) and Franz Josef (Tone's character). When Sisi married Franz Josef she was 16 and he 24, not 40 and 30, the ages of Moore and Tone respectively. Even given the generous poetic license the producers took with the real story which is nothing if not tragic, there's only one way to look at this movie. It is nothing more than a vehicle for Grace Moore. And maybe that's reason enough to watch it.

"The King Steps Out" is a very good comedy romance and musical. The latter is mostly in seeming impromptu songs that female lead, Grace Moore, sings a few of. This is a whimsical treatment of some real-life people in the time of the Austro-Hungarian Empire. It's a highly fictitious account of the meeting and marriage of Franz Joseph I and his cousin Elisabeth. In real life, he was 18 and she was 10 when they first met in 1848. He became emperor that year, survived an assassination attempt five years later, and then married Elisabeth ("Sisi") in 1854 when she was 16.

But the rest of the characters and parts of the story are fairly accurate. The king's mother, Sophie, had a strong hand behind the scene, and she had originally wanted him to marry Sisi's sister, Helene, who was four years older than she.

Well, this isn't meant to be a history lesson or biography, but a sort of fairy tale romance and comedy. And, it's quite good on those fronts, as well as offering a good look and listen to Grace Moore. I knew nothing of the then famous opera singer and actress. She made only nine films and performed in operas until her tragic death at age 48 in 1947. She had just finished a performance to a packed house of 4,000 people in Copenhagen on January 27. But, the plane she boarded to fly to Stockholm crashed and exploded on takeoff.

Moore has a very good voice and a very sparkling character that I think lights up this story. Franchot Tone plays opposite her as Emperor Franz Joseph. All of the cast are good, including three very prominent and excellent supporting actors of the 1930s and 1940s in comedy. Walter Connolly plays Sisi's father, Maximilian, the Duke of Bavaria. Raymond Walburn plays Col. Von Kempen. And Thurston Hall plays the Major. A number of other very good actors of the day contribute. Herman Bing has a considerable supporting role as the flustered proprietor of the Ox Inn, Pretzelberger. The one strange cast member is Victor Jory who plays Capt. Palfi, who's in love with Princess Helena. He would become mostly known for many later roles as an outlaw in Westerns or a shady character in crime and drama films.

The sprightly performance of Grace Moore and the comedy with Tone, Connolly and Bing make this a very fun film to watch. Beer drinkers are wont to get quite thirsty watching this film, with the Duke of Bavaria having to try so many brews.

I am reminded of the cry of my toddler nephew when witnessing a minor mishap, a plaintive beatific "oh no!", often with his little finger raised aloft; I am reminded of this when examining this film's reputation on the IMDb, and sadly, it appears to have been seen by few people. This is not typical von Sternberg heroin, and I can only think that the few people who have seen it here were expecting such. The soul of the film is much more to do with Ernst Lubitsch. I think it does very well on that level, it's a saucy comedy. One thing that is typical of von Sternberg however, is that the movie has dream absurdity. The clan of Habsburg blue-bloods on display here have more in common with the Munsters than with any sort of historical reality.

The film is mostly a farce. The Empress Mother of the Austro-Hungarian Empire decides to marry her son Emperor Franz Josef (played with elegance by Franchot Tone) off to a relative, the princess Helena, who is a pretty little drip, seemingly permanently anaesthetised. Her sister Sissi wishes to save her from this fate and henpecks her curmudgeonly father Maximilian, Duke of Bavaria, out of the door to intercede on Helena's behalf to stop the arranged marriage.

You would not guess given the absurdly low rating of this film that it a bona fide rib-tickler. Uncredited Raymond Brown as the innkeeper of The Golden Ox is simply hilarious. Just watch him try to catch his own whistle. One thing that I like to see in a comedy is misplaced hysteria, the innkeeper's hilarious rasping, lisping, and stuttering, when he gets out of control and confused are a glory, similarly the chief of the secret police, who really appears to be afraid of his own shadow, will have you rolling on the floor as he flinches and twitches.

Sissi and Franz Josef's lovemaking is the backbone of the movie and is amusing and constantly carefree, and even raunchy (given the times).

I enjoyed seeing the corps de ballet in this film, practising in a hall, Sternberg's play of light and dark attempting to give Degas a run for his money in terms of ballet studies. There seemed almost no reason for the scene, but I'm not complaining.

This is not one of the great movies, but it is something I specifically chose as Christmas fare par excellence, and I chose well.