A Parisiense

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.

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.

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.

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

I wish I had a time machine and could go back to the old Met and hear some of these singers like Galli-Curci and Lily Pons, who had voices the size of gnats. Nowadays a straight coloratura would never be given Violetta to sing. I'm not even sure one would sing Lucia. They still sing Gilda, and by Act II, it looks like a silent movie. as no one can hear them.

Anyway, Lily Pons was a huge international breakout opera star who made three films for RKO in the '30s. She also did advertisements and gave concerts. Here, she plays a singer, Nikki Martin, a Parisian without a passport who takes off on her wedding day and winds up meeting musician Windy McLean (Gene Raymond) who plays with a band, the 'McLean Wildcats.' Nikki falls for him and stows away on the ship that takes him and his band back to America. Authorities find her, lock her up, and fire the band, which was supposed to play on the ship. Nikki escapes once the ship reaches New York and turns up at the Wildcats' apartment.

Windy's girlfriend, Clair (Lucille Ball) arrives and has a job for them at a roadhouse, which gets them out of town and away from the authorities, who want to bring them to justice for hiding Nikki. When Clair is injured, Nikki becomes very popular as the band's singer. Clair reports them, and soon, they're on the run again.

The band players (Jack Oakie, Hermann Bing, and Mischa Auer) are funny and lively. The film contains lots of music of all kinds. At the end, Pons sings one of her signature roles, Rosina in "The Barber of Seville." Today that role is sung by a mezzo-soprano.

Pons had excellent coloratura technique (but no trill) and, like most female singers of that era, backed off the high notes. It has to do with their training and the type of sound that was considered acceptable. She had a high F and was known for Lakme, an opera which isn't done much anymore.

This is an entertaining film that gives one a chance to see one a really big opera star of the day, during a time when opera was much more a part of the culture. Pons sang into her seventies and, even when I was a child, was still very well known.