The Love Parade Film Review

Since Ernst Lubitsch had come to Hollywood at the bidding of Mary Pickford in 1923 to direct Rosalita, he had directed ten films. All silent. But in a cinematic sense he had never really left Europe though he rarely went back. Of the ten films, nine were set in Europe and five involved royalty which was very popular at the time. He was one of the first German directors to leave and find their way to America. Over the next ten years many were to follow, but Lubitsch did not do it because of the rising tide of Nazism - this happened long before that - though being Jewish I imagine he was very glad later on - but because the German economy was a disaster. The Mark had gone from 8,000 to the dollar to a million to the dollar. Now he had a chance to earn dollars. Pickford had decided that she needed a change of style and thought that Lubitsch was a genius and the best director in Europe. They banged heads quite a bit and Lubitsch with his lack of English and his thick accent had difficulties in making people understand what he wanted. There was also still a large prejudice against Germans because of the war that he had to overcome. Yet he always found himself in demand during his silent pictures and had contracts with United Artists, Warners, MGM and now with Paramount.

His last picture before The Love Parade was with an inebriated John Barrymore and was a box office disaster. And now sound had come. Lubitsch was initially flummoxed by this - he loved the grace and movement of the silent films and now technology would not allow that. He decided he wanted to make a musical. Set in Europe and among royalty. The film is luxurious and ornate - like being on a silver platter of caviar. Everything looks fabulous - the interiors of the palace are a dreamlike fantasy of long hallways adorned with crystal, mirrors, chandeliers and extras dressed elegantly and at ready command. For Lubitsch that was the easy part - he had done it before. But how to shoot the music was the challenge. Other musicals coming out at the time were generally static - the revues that were like vaudeville acts and others in which the people had a reason to sing in performances. Lubitsch wanted nothing to do with that. This was going to be a fanciful light as air musical that combined the operetta style of Europe and the cabaret style of France. He needed movement and his innovations are remarkable. Songs are not attached to any realism, they simply start up. The film no doubt feels creaky now but that is mainly because that style of singing has gone out of fashion - a very long time ago - but Lubitsch has some great touches here that delight.

He needed to find his leading man and lady. He made two brilliant decisions. He asked Maurice Chevalier from France to take the male lead. He had become famous in France for his performances in cabaret with his big smile, charm, patter and songs. He was very working class and thought the idea of him playing a Prince was ridiculous. When Lubitsch told him he had to wear military uniforms he thought it foolish. Chevalier suffered from depression all his life and people commented that when he was waiting to be filmed he would sit in the corner on his own and look miserable. But as soon as the director called out action, he would transform himself into the mass of charm that we all think of him as. The depression led many years later to him basically killing himself.

Jeanette MacDonald had been on the stage for a few years before trying out for films. She didn't get those roles but Lubitsch saw her tape and immediately thought, star material. If only she can sing and dance. Well, sing she certainly could and went on to a huge career. She was to appear in four Lubitsch films. Considering that this is her debut, she is great - cold at times, haughty, coy, sexual and funny. Her voice is operatic and she can hit notes so high I expected the glass to break - while Chevalier's singing is as much a patter as singing - interesting when they sing to one another in such different styles.

The film opens on the butler singing as he clears the table and then pulls out the table cloth as if to say we are clearing away the old style. This is something new. Chevalier as the Sylvanian military attaché in Paris loves the city but loves the women even more - especially married ones and after another scandal he is ordered home to be punished by the Queen. In a pure Lubitsch scene he goes on the balcony and sings Paris Don't Change and all the women in the neighborhood look up at him and bid him farewell. Then his butler played by Lupino Lane (an English music hall artist) does the same and the many maids poke their heads out the windows and last but not least their dog howls and a poodle responds. Chevalier meets the Queen (MacDonald) and charms her off her feet to the cheers of the cabinet and servants who want her married. They sing to one another, fall in love, get married and then reality hits. He is the Prince Consort with nothing to do but obey the Queen. That doesn't sit well with him.

Chevalier is pure charm with his grins and romantic moments. It is the sort of Gallic charm that you find endearing or has you hide your young daughters. He even looks directly at the camera three times and smiles as if to say this is fun. I wish you were here. Two of the best numbers are performed by his butler and her maid. In Let's Be Common they horse around as he sings to the effect that it is great to be common because I can call you anything to which she replies and I can throw anything at you. The maid is played by Lillian Roth. One of the many tragedies of Hollywood. Enormous talent that went the way of the bottle and finally to mental institutions. You watch her here and want to cry. The film was a big hit and some say saved Paramount just as the Depression hit. It is a lovely film with not a bad note struck. Also look for Eugene Pallette as one of the Ministers - his bull frog voice makes him easy to spot.

Lubitsch, MacDonald, Chevalier