Le chat et le violon

This is a delightful, free-spirited musical gem from MGM. It has the feel of the risque Paramount musicals of the era. Jeanette MacDonald and Ramon Novarro are lovers who co-habitat (not an issue here!) and nurture each other in their respective musical careers. Jerome Kern's score is wonderful -- the kind of tunes that stay with you, "Try to Forget", "The Night Was Made For Love", "She Didn't Say Yes". Great dialogue and comic relief and a few emotional snarls give the film some complexity. The musical numbers are innovative and interestingly filmed -- they compliment the score. The atmosphere in Brussels is highlighted by a variety of characters in the arts community. The film has a musical fluidity. Other than the stilted staging of the 3-strip Technicolor ending, this film deserves more attention.

Notable for three things - the MGM debut of the lovely Jeanette MacDonald; the musical ability of Ramon Novarro, at this time on his way out of films as his star began to wane; and the Technicolour finale.

'The Cat and the Fiddle' comes to the screen from the Broadway operetta, retaining most of the already-dated songs, and a plot designed to make the most of familiar character actors of the time (Charles Butterworth, Joseph Cawthorn, Jean Hersholt).

It is definitely minor league stuff when you consider the musical legacy of the MGM studios, but definitely worth watching. The leads are good together and in excellent voice, and the film is funny, sparkling, and very much of its time.

Between her first film at MGM which was her last with Maurice Chevalier, Merry Widow, and Naughty Marietta which was the debut film of her partnership with Nelson Eddy, Jeanette MacDonald did a film adaption of Jerome Kern's and Otto Harbach's Broadway show The Cat and the Fiddle. She co-starred with Ramon Novarro and while the results were interesting and entertaining there was no demand for more MacDonald/Novarro screen pairings.

The Cat and the Fiddle ran for 365 performances during the 1931-1932 season, something of a miracle for a show to run that long. Most of the score remained intact from the Broadway show. Some big hits for the Kern-Harbach team that came out of that show were She Didn't Say Yes, The Night Was Made for Love, I Like to Watch the Love Parade, and Try to Forget all sung nicely enough by Jeanette and/or Ramon.

While Jeanette's career was on the rise, Ramon was on the downhill slide being propelled like a toboggan by Louis B. Mayer. He was living as openly gay a life as a star could back in the day. Right around this time another gay star William Haines was being given the heave ho by MGM and the Code was on the horizon. Novarro would soon be leaving the USA for Europe and his native Mexico.

The plot concerns two music students in Brussels, American Shirley Sheridan and Victor Florescu presumably Rumanian. Like the usual awkward beginning associated with MacDonald/Eddy movies they are soon at work and in love. However producer/impresario Frank Morgan has designs on Jeanette and Ramon has caught the eye of former diva Vivienne Segal.

This was Vivienne Segal's last film in an otherwise disastrous fling in Hollywood. Making her debut in 1915 she was a leading musical comedy star of Broadway and like a whole lot of Broadway players went to Hollywood when pictures began to talk. She didn't fare well at all in her films and in this last film she's supporting Jeanette. But she sings New Love is Old and Well and being The Cat and the Fiddle is out on at least VHS, it is the only way today's fans can see one of Broadway's leading stars.

Funny how situations can be played for either drama or comedy. A bum check is played for laughs in the Marx Brothers film Room Service. Here in The Cat and the Fiddle the plot calls for Novarro to write a bum check in order to keep his show going for five days after Segal's husband pulls her out of the show. That could have been real serious.

Are you curious as to what happens?

Ramon Novarro (as Victor) is a struggling musician, trying to make ends meet, in Brussels. After delighting diners with a new composition, Mr. Novarro refuses to pay the owner for some wine, and runs away. He loses pursuers by hopping into a car, which is occupied by another poor musician, singer Jeanette MacDonald (as Shirley). Novarro is smitten with Ms. MacDonald, and woos her from his neighboring apartment. The two are drawn to each other, both romantically and professionally. On the verge of becoming a successful team, Novarro's producer Frank Morgan (as Daudet) becomes a romantic rival for MacDonald's affections.

Operetta films featuring soprano MacDonald aren't exactly my favorite of movie genres; but, this one is better than most. Stars Novarro and MacDonald are very engaging; Novarro has a couple of great, unexpected, dramatic scenes. Look for some entertaining supporting performances, too; Charles Butterworth is especially good as the "Harp Player". The film eventually becomes a total operetta, with Novarro and MacDonald singing until the end of "The Cat and the Fiddle". The last song is shown in color. The better song was "The Night Was Made for Love".

****** The Cat and the Fiddle (2/16/34) William K. Howard ~ Ramon Novarro, Jeanette MacDonald, Frank Morgan, Charles Butterworth

Two struggling young composers share adjoining pensions in Brussels. A romance ensues, and they soon find themselves sharing more than just the view. When the lady finds success, the gentleman departs, seeking for fame of his own. Fate conspires to keep them apart - can they ever, like THE CAT AND THE FIDDLE, make sweet music together?

Although virtually forgotten today, this musical romance has much to recommend it, including sophisticated performances from its two stars, Ramon Novarro & Jeanette MacDonald. The lavish production values may have been the Studio's way of pumping MacDonald in this, her first MGM film. Both of the stars exude charm & handle the Kern/Hammerstein score quite nicely.

This would be their only film together. MacDonald would soon begin her celebrated collaboration with Nelson Eddy and become one of the Studio's superstars. Not so for Novarro. Although he gives a fine performance here, after only two more (negligible) films, Novarro would be released from his MGM contract. Tastes in male leads had shifted away from the Latin Lover, but also the Studio bosses were doubtless concerned that Novarro's private life might prove a scandal and an embarrassment, a la William Haines. Be that as it may, THE CAT AND THE FIDDLE would prove to be Novarro's last decent starring role.

Some very fine supporting actors appear: Charles Butterworth, as a befuddled benefactor; Jean Hersholt, as a kindly music professor; Henry Armetta, as a furious cab driver; and Frank Morgan, as a comically lecherous impresario. In unbilled roles, movie mavens will recognize Paul Porcasi, as an unfriendly cafe owner; Herman Bing, as the speechless leader of the Fireman's Band; Sterling Hollowly, as a delivery boy; and Christian Rub, as a stage actor.

Best song? `The Night Was Made For Love.' The film segues into eye-pleasing early Technicolor for the final scene.