Metropolitan

Lawrence Tibbett's penultimate film. Oscar-nominated star of early talkies and 30s films is almost forgotten now. Good little film with terrific cast. Virginia Bruce, Alice Brady, Cesar Romero, Jane Darwell, Jessie Ralph, George Marion, Luis Alberni, Walter Brennan, Thurston Hall, Etienne Girardot, Mary Gordon are all familiar faces. Tibbett plays struggling singer who breaks free from dominating star, Brady. Several good arias and some nice cinematography. And it's not often you hear anyone referred to as "monkey wrench girl!"

Metropolitan, what can I say? A real musical treat of a film. The story is not exactly familiar territory, but the production values for example are really well done, with lovely lighting, exquisite costumes and spacious settings. Even better is the music, a real treasure trove of operatic highlights especially Largo Al Factotum, Pagliacci and The Toreador's Song. Even better than that is the performance of Lawrence Tibbet, he doesn't quite have the looks of Nelson Eddy for example but what more than compensates is his exciting presence on film and his enormously resonant voice. Virginia Bruce and Alice Brady both look alluring and sing beautifully, although Bruce's Micaela sometimes lacks warmth and this detracts from the poignancy of the role. Overall, for fans of Lawrence Tibbett and opera this is a real delight. 8/10 Bethany Cox

The script for this movie is really bad, a collection of tired clichés. And that's a shame, because there is enough talent here to have made a good movie.

Lawrence Tibbett was unquestionably one of the great singers of the first part of the twentieth century, and definitely one of the first American stars of opera, along with Rosa Ponselle and Grace Moore. He was a handsome guy who could act, and he had real stage presence, which you can see in this movie.

And that is what saves this movie from being a total loss. Several of Tibbett's signature roles - Tonio in Pagliacci, Escamillo in Carmen, Figaro in the Barber of Seville - get captured here, so that we can see why he delighted opera audiences for two decades at the Met. The opera excerpts are never presented or explained, however; they just get performed, leaving most of the audience to appreciate the music, if they can, without any idea what Tibbett is singing so well. That was expecting too much, I suspect, and it's a shame, because the three excerpts are good performances that could have been integrated into the script a lot better.

We also get to see Tibbett sing two popular numbers, and they are perhaps the most striking in the movie: a setting of Kipling's "On the road to Mandalay" and the spiritual "De glory road," with both of which Tibbett does a great job. Again, however, there is no effort to integrate them into the plot. At one moment, Tibbett sings them as examples of "beauty" to other musicians. Then they're over.

There isn't much else to notice in this movie. If that is Virginia Bruce doing Micaela's aria from Carmen, she does a good job of it.

The rest is all clichés. Why, you might wonder, does the movie start with Tibbett's character leaving Bruce's character stranded in the countryside with a broken down car? That should have aggravated her to no end. Instead, she falls in love with his voice.

It never gets any better.

This marked the end of Tibbett's movie career, and you can see why. But in this case the fault was not Tibbett's. The script was the villain!

Virginia Bruce was one of those,I know the face but i cant remember the name stars.She deserved better.A very pretty young woman, and a convincing actress, was Miss Bruce.She was however overshadowed by the Irene Dunnes, Norma Shearers,Greta Garbos that reigned Hollywood supreme.She was of those able and sometimes forgettable actresses such as Karen Morley,Frieda Inescort,Kay Johnson. However in Metropolitan, she shines in her own gentle, ladylike way.Lawrence Tibbett the great operatic baritone has some glorious moments and some great arias and songs.Miss Bruce is his love interest and if that is her singing ,which I doubt; she had a lovely voice as well. The great silent star, Alice Brady is brilliant, as the temperamental opera diva.The movie moves along at a good pace and has a nice 30's plot.It is an enjoyable film for the cultured, over 40s viewer.What a joy to not be immersed in political correctness or cringe at 4 letter words. With a cast like Tibbett, Bruce and Brady how could you go wrong?

This 1935 film showed recently on a TV movie channel and proved an innocent delight. The story line is simple, the ending happy, the people snappily dressed and the sets splendid. A fading prima donna is fired from the Met and starts her own opera company. A renowned conductor comes from retirement to conduct, and hires baritone Lawrence Tibbett, one of America's first operatic super stars, whose superb singing is the chief attraction of the film. He has a rich, focused voice and agreeable good looks. When the prima donna's voice fails, the conductor quits and all is about to fall apart, until the heroine Alice Brady, who wanted to be an opera star on her own, turns out to be an heiress and saves the day.The sound track suggests that someone has done a spectacular job of restoring the print; Tibbett's ringing voice impresses in baritone favorites, "The Road to Mandalay," "Largo al factotum" from Barber of Seville, "The Toreador Song" from Carmen, and "Si puo," from I Pagliacci.