Caffè metropole

Tyrone Power shows his considerable comic flare in his role as a young American in Paris who is blackmailed into posing as a Russian prince to court a wealthy heiress (Loretta Young). The script is extremely witty with fast-paced, sharp dialogue that keeps the viewer in stitches from start to finish. Highly recommended! Unfortunately, this movie is not available on video, but it is played on the Fox Movie Channel from time to time.

One can see why the studio couldn't help pairing Tyrone Power and Loretta Young - very attractively matched. They were quite taken with their new acquisition of Mr. Power, their answer to Clark Gable, et al, and gave him preferential handling over some of their proved ones, like Ms. Young, who had been a faithful producer for them for some time prior to this. Not only did Mr. Power quickly out-bill her, he also out-earned her, naturally something of an angst to her. He was rather spectacular looking as a young man, but to my mind, did not age as well as some of his counterparts. This is a delightful tale with a lot of fun from several quarters. Helen Westley was my all-around favorite, being, to me, an absolutely diverting woman always in whatever way. Coupled with papa, their segments were among my favorites. Adophe Menjou was faithfully fulfilling with his impish charm here. Very fun film.

Tyrone Power and Loretta Young always worked beautifully together when paired together. Anything that has Adolphe Menjou in it in a type of role that he played so well immediately has me sold, in fact there is a very talented cast here. Haven't seen an awful lot of Edward H. Griffith's work it has to be confessed, the little that has been seen didn't wow me. Do like romance and comedy a lot when done right, and both have been done very well and more individually and worked brilliantly together numerous times too.

'Cafe Metropole' is an example of both romance and comedy being done very well individually and also an example of both working harmoniously together. Anybody that loves Power, Young and their chemistry together should love it, as it is a very good representation of all three. 'Cafe Metropole' is a lot of fun and very charming with a lot to like, as far as Griffith's films go of the ones seen this compares very favourably indeed as at its best it did wow me in the way that others of his didn't.

Is it perfect? No. Some of the second half is not as good as the first. It does get quite silly and some of Laura's decision making didn't seem probable to me and strains credulity. Count me in as another person that didn't buy her not particularly realistic attitude when she falls in love with him when most would balk when learning the truth about someone they cared for. It made me come over as quite silly and naive.

Still, there is so much done right in 'Cafe Metropole'. Power may not be remotely believable as a Russian, then again the premise doesn't call for him to be that, but he more than makes up for it with his dashing charm, his charisma (neither lightweight or too heavy) and witty comic timing. The character of Laura may be problematic in the second half, but Young is throughout incredibly charming and sparkles in the delivery of the comedy. She and Power work beautifully together, one can feel the love between them. Menjou does suave and smarmy so well as usual and Charles Winninger and Helen Westley have very funny moments and great chemistry. Gregory Ratoff is amusing though his role is not large.

Griffith's direction of the films seen is some of his more inspired, as he keeps the pace going at a lively pace, stops the film from getting too frothy and the comedy isn't done with too heavy a hand. 'Cafe Metropole' looks stylish and elegant with Power and Young looking lovely in their beautiful clothes. The script sparkles, with the romantic parts being truly adorable and easy to get behind and the comedy bursting with wit. The story strains credulity later on, but the first half especially is immensely engaging and has so much charm and heart.

To conclude, really enjoyed it. 8/10

Explaining the plot to Café Metropole will sound a little complicated, but if you liked Dirty Rotten Scoundrels, or its original Bedtime Stories, you'll probably like this predecessor and offshoot. Tyrone Power owes a huge gambling debt to restaurant owner Adolphe Menjou, and rather than face jail time for writing a bad check, he agrees to Adolphe's plan: impersonate a Russian prince and woo a wealthy American tourist, then get the money out of her.

It doesn't matter that Ty's Russian accent isn't perfect, because he's supposed to be just as unconvincing as he is handsome. Loretta Young plays the target, and while she immediately falls in love with him, her father Charles Winninger and aunt Helen Westley are suspicious of the smooth young man. I would have preferred a different leading lady, as I've only been able to stand Loretta Young in one movie, and this isn't it. Her talent turns her character into an immature, undesirable child, and her delivery of every line sounds enormously condescending. Charlie and Helen are very cute in this movie, so if you liked them in the previous year's Show Boat, you'll love them in this. Adolphe is given some great lines, and unlike the female lead in the film, he doesn't squander them. In the first scene, he helps a pie-eyed Ty out of his restaurant. "Why two hats?" the drunken and double-visioned Ty asks when Adolphe tries to get him dressed and off the premises. "It's the fashion this season, sir," Adolphe glibly explains, showing the audience that he'll do anything to maintain the dignity of his restaurant. Check out this comedy if you like the cast. You'll also be treated to a very cute theme from Louis Silvers throughout the movie!

It must be 35 years or so since I saw this film in an "Art House" Theatre. But it still has left one, strong, lingering impression.

There is one scene on the dance floor that took my breath away. Power is wearing a tailcoat and white tie. Young is in a satin floor length gown that clung to even inch of her elegant form. They were dancing like a young god and goddess.

I remember thinking, "At that moment in time, they had to be the two most beautiful people on the face of the earth." I recall nothing else about the film save this moment. But it's quite sufficient.

Sometimes, all it takes is just one scene to leave an impression that makes the memory of a film vivid for decades. In an era when class and style are neither appreciated, celebrated or understood, a film like this is a reminder of these words mean -- or at least meant.