Very well executed

Such a frustrating disappointment

A brilliant film that helped define a genre

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

"Anything for the Queen" will be my new motto around the household, specifically for my bf. It is good to see that you can learn something from 82+ years ago for the first time.I've always been a fan of 30's musicals so it was a treat to see this movie for the first time of my life as a historical piece, but also to see the development of musical movies from the start. I am blessed to live within 30 miles of the Stanford Theater in Palo Alto, CA that offers amazing film histories, museum and revivals every week of the year.I can now see why Chevalier was such a hit -- he had natural wit, humor and timing, something I never witnessed in later films (such as Gigi) where his talents were mostly condensed down to singing.Jeanette McDonald's operatic singing was extraordinary, but does feel "dated" in the film in contrast to the impeccable performances, timing, dance and humor-filled vaudevillian routines of Lupino Lane and Lillian Roth. IMO they stole the show (sort of like a 'Jack & Karen' team did from "Will & Grace").I would see the movie again just to check out the servant scenes and a well-deserved nod to the animal trainer for the dog performances. The entire cinema was laughing at the opening goodbye to Paris scene.

This is very much like a Vienese operetta, with its principle couple - Chevalier and MacDonald - and its second couple, the help, who mirror the principle couple in a light way. The music often sounds like minor Johann Strauss or early Lehar, and the plot owes a lot to The Merry Widow.Still, my favorite aspect of this movie is that, being pre-code, it constantly flirts with the edge of what could be dared in those days. It's never in any way obscene or vulgar, but it's constantly winking at the audience about matters sexual, and of course the last shot is of the couple in bed - one bed. Hollywood wouldn't enjoy that freedom for another 30 years.It's all very light and, in the end, not very memorable, but along with One Hour with You, which I probably prefer, a very enjoyable way to spend an evening.

100: The Love Parade (1929) - released 11/19/1929, viewed 6/10/08.DOUG: I always said that as soon as they released an Ernst Lubitsch box set, I would check it out. As Lubitsch's first sound film, 'The Love Parade' would have closed out the 20's for us. This is my 5th Lubitsch film, and he has yet to disappoint me. Right from the start, Lubitsch has an excellent handle on how to utilize sound, dialogue, and music, but still gets plenty of mileage out of dialogue-free business, such as the opening scene. The two leads spark nearly as much chemistry as they would later in 'Love Me Tonight': Chevalier (in his second sound film) is charming as ever, and Jeanette McDonald (in her first film) is supremely sexy (really!), showing a lot more skin in several scenes than the Hays Code would have likely allowed. I thought the second half of the film lagged quite a bit; once the two are married, it's just a series of scenes of Alfred becoming miserable with his new life, suffering under the soul-crushing set-up of "many duties and no rights." Lupino Lane and Lillian Roth add a lot of cuteness, spunk, and verve to the proceedings as Alfred and Louise's respective sidekicks/hired help; their performance of "Let's Be Common" was my favorite musical number of the piece. Judging by his footwork, I'm guessing Lane came off of vaudeville. Although I enjoyed this movie less than the other four Lubitsch comedies I've seen, I still recommend it.KEVIN: Going back to 1929 we have this royal battle of the sexes, Lubitsch-style! Though not an essential, this movie was definitely worth checking out. The always reliable Maurice Chevalier (in his second sound film), and the lovely singer Jeanette MacDonald (in her first film) star in The Love Parade, Ernst Lubitsch's teasing romantic musical. When a suave ambassador (Chevalier) gets in one too many scandals in his beloved Paris, he returns home to his native Silvania, where he catches the eye of the man-starved queen (MacDonald). But when they wed, he becomes not a king but the "queen-consort," a position with many mundane duties but no responsibilities or power of any kind. That and his lovely new wife is more focused on her queenly duties. Naturally, he finds his new life more than a little unsatisfying. I found the struggle of Chevalier's character to be fresh and appealing, portraying a man who refuses to remain a trophy husband. There were several scenes where it felt as though the gender roles had been reversed, though the scene in the opera house where Chevalier basically taunts MacDonald into submission worried me some. But overall, the irresistible team of Chevalier & Lubitsch definitely met my expectations. The dialogue-free opening scene was a stitch. MacDonald manages to strike the right balance of lovelorn maiden and blue-blooded royal. Lupino Lane and Lillian Roth (who would appear the following year in Animal Crackers) make a great team and provide some fantastic sidekick laughs (and some of the more inventive dance numbers).Last film viewed: Wings (1927). Last film chronologically: The Cocoanuts (1929). Next film viewed: The Divorcée (1930). Next film chronologically: Anna Christie (1930).

It's Lubitsch, it's got songs, what more do you want. Alas, it's also got Jeanette MacDonald and Maurice Chevalier but you can't have everything. It's actually quite good, especially for 1929; okay, the songs could be better but the idea of integrating song and story was innovative and though Mamoulian did it better three years later this was clearly his blueprint - AND he had a score by Rodgers and Hart. Victor Schertzinger was a fine composer and later turned director and Clifford Grey was a competent lyricist so that leaves the story, a twist, one of several at the time, on The Merry Widow, which Lubitsch would film with the same two leads in 1934. It remains a fascinating record of Lubitsch's first talkie and early musical film.