Alles für das Kind

Rene (Maurice Chevalier) arrives back in Paris earlier than expected and so arranges a night out with 3 different women before he meets up with his fiancé Louise (Gertrude Michael). However, a couple have put an unwanted baby into his car which he discovers once he has reached his apartment. Rene and his butler Victor (Edward Everett Horton) grow attached to the baby and decide to keep it. Sally (Helen Twelvetrees) arrives at the flat and is hired as a nurse to the baby. How is Louise going to react when Rene attends a dinner accompanied by Sally and a baby.....?....... It has a happy ending.

The film has some very funny moments and some good comedy sequences - see how Rene ushers Paulette (Adrienne Ames) out of his room unseen with her husband Max (Earle Fox) standing yards away from him.....the French make it look so easy! The cast are all good and the story is entertaining to watch. The only drawback are the 3 songs that Chevalier sings - they are completely forgettable and not necessary. They also take the pace off the film. The best song is sung at the beginning by Mlle. Gabrielle (Leah Ray) but the film is more a comedy than a musical.

It's good entertainment.

A middle-aged couple in Paris have a hard time making ends meet while caring for the baby of a dying mother whom they promised they watch over the child. When they see a fancy automobile parked outside a shop, they think the wealthy owner would be able to care for the baby, so they put him in the back seat.

The wealthy owner is Monsieur Rene, a playboy and member of the idle rich who has just returned from an African safari. He doesn't see the baby when he returns to his car. But, when the butler unloads his luggage, he discovers the baby. A young woman shows up from the agency he called for a baby nurse, and Sally fits int eh story of the redemption of this man.

"A Bedtime Story" is a comedy romance with some tunes for Maurice Chevalier as Rene. Helen Twelvetrees plays Sally, and Edward Everett Horton leads the supporting cast that includes Baby LeRoy. It was the debut for the young baby who was picked out from an orphanage. He would be in just 10 films over 2 ½ years, including comedies and dramas, and is best remembered for the three films he was in with W. C. Fields.

While the acting and other aspects of the film are okay, it's a little hard to believe Chevalier's conversion in this story. And, one probably had to be an adult in the early 1930s to understand Monsieur Rene's remark about people laughing at babies. Babies have probably made people laugh since the beginning of time. But, Monsieur Rene didn't' seem to understand the context. For what it's worth, here is his line - " I didn't know that people laughed at babies. I know that people sometimes rib each other. But I never knew they laughed at babies because they were alive."

A BEDTIME STORY (Paramount, 1933), directed by Norman Taurog, is a cute and simple story about how fate steps in and changes the life of a Frenchman playboy for the sake of an abandoned baby. The Frenchman in question is Rene (Maurice Chevalier), whose introduction to the story being the focus of his straw hat twirling on top of his cane, exiting the train onto the station in Paris after spending some time away big game hunting in Africa. Because no one is aware of his early arrival, Rene makes arrangements to spend an hour with not one, but three attractive young ladies at separate times: Suzanne (Betty Lorraine), a florist; Gabrielle (Leah Ray), a night club singer; and Paulette (Adrienne Ames), now married to the ever jealous Max (Earle Foxe), who makes no qualms about remaining "friends" with him. Although engaged, Rene does not let his arrival be known to his fiancé, Louise (Gertrude Michael), so to have a little fling before getting married. As he telephones the aforementioned ladies, Rene's luggage is being packed into his car while at the same time, a poor couple (Frank Reicher and Ethel Wales), formerly maid and butler, find they are unable to care for their now deceased employer's child, attempt to find him a good home by placing the orphaned baby (Baby LeRoy) in the back seat of Rene's car. That night in Rene's apartment, the baby is brought to the attention of his servant, Victor (Edward Everett Horton). Rene decides to unload the child by calling the authorities, but rather than having the boy placed in an orphanage, Rene decides to keep the child he calls "Monsieur Baby." By doing this, Rene forgets about his ladies in waiting, all awaiting his arrival that never happens. With the baby in the care of the two men, Rene calls for a governess/nurse, who turns out to be a stranded American showgirl named Sally (Helen Twelvetrees), whom he hires. All appears to go well until Rene attends a function hosted by his fiancé, Louise, who becomes humiliated not so much by the presence of Sally and Victor, but with the baby, and makes it known that she doesn't want that "M'sieur Baby" into their lives.

A musical that might have played as either a straight light comedy or drama, the writers inserted some songs into the scenario, all sung during the first hour so not to take away from Chevalier's image. Unlike some of his earlier works on film, Chevalier doesn't sing directly into the camera, but to the ever attention of Baby LeRoy. With music and lyrics by Ralph Rainger and Leo Robin, songs include: "Look What I've Got?" (sung by Leah Ray); "M'Sieu Baby"(sung by Chevalier to LeRoy); "In the Park in Paree" (sung by Chevalier as he strolls LeRoy in his baby carriage); and "Home Made Heaven" (sung by Chevalier to Helen Twelvetrees). With "Home Made Heaven" being the film's best liked tune, the most memorable happens to be the one not sung by Chevalier. "Look What I've Got" might not sound like a familiar song title, but the score is, having been used as background music in one of the funnier scenes of the most revived comedy of INTERNATIONAL HOUSE (1933) involving Peggy Hopkins Joyce and W.C. Fields taking separate showers in the same hotel room. "M'sieur Baby" as sung by Chevalier to Baby LeRoy, might have been inspired by Al Jolson's lullaby of "Sonny Boy" to his three-year-old son in THE SINGING FOOL (1928), but "M'sieur Baby" never became noteworthy. Unlike THE SINGING FOOL, A BEDTIME STORY is geared more towards comedy than drama. There is a touch of sentiment, however, in a scene where Chevalier kisses his new found son, followed by him lifting his head up proud and holding back tears of joy.

Baby LeRoy, making his movie debut, is best remembered today as the comic foil to comedian W.C. Fields in such notable comedies as TILLIE AND GUS (1933), THE OLD-FASHIONED WAY and IT'S A GIFT (both 1934). His career ended by the time he reached the age of four in 1935. Helen Twelvetrees, in her only performance opposite Chevalier, has charm but lacks the sort of charisma found in some of his other leading ladies as Claudette Colbert and Jeanette MacDonaldt. Gertrude Michael steps in once again on screen playing one of her many unreasonable, jealous characterizations, a sort of role she specialized in at that time.

Virtually forgotten today and a lesser achievement to some of his best films, especially those under the direction of Ernst Lubitsch, A BEDTIME STORY, is Chevalier's movie from start to finish, though Edward Everett Horton and Baby LeRoy come close to nearly stealing it. Baby LeRoy gets all the cute closeups and dubbed-in baby sounds, as well acquiring watches to break by crashing them onto the floor. When being taken for a stroll, the baby looks directly at the big clock attached to the street pole, leaving Chevalier to reply, "Be reasonable! Be reasonable!" Horton as Chevalier's manservant, brings all his familiarity into his role. One amusing scene has him giving Rene a shave, and during their conversation, learns that one of his employer's many girlfriends happens to be his wife, leaving Rene to sit motionless as Victor coldly uses the razor blade shaving around his neck, leaving Rene to sit back and wonder if he'll do anything drastic. Cleaver touch of suspense comedy.

There have been several movies over the years bearing the title of A BEDTIME STORY, but while the story has been revamped in different ways, this screenplay by Waldemar Young has never been remade nor has it ever been distributed on video cassette. However, it did have limited revivals on the American Movie Classics cable channel from February to November of 1989. With this being the only pairing of Chevalier and Baby LeRoy, this is their story captured on film. (***)

Baby LeRoy gets more close-ups than anybody in this sentimental romance, but he has plenty of competition in hogging the camera from Maurice Chevalier, though oddly limited to only a few songs and those mainly forgettable.

The film's plot revolves around an abandoned child found in the back of a playboy's limo, soon becoming the center of attention as the kid charms Maurice, who attempts to explain away his sudden appearance to several irate sweethearts.

There's a funny and even slightly suspenseful scene as manservant Edward Everett Horton attempts to shave his master, discovering as he does so that Chevalier has unknowingly "dated" his wife--Horton delivers a very close and nervously fingered shave!

The Ever-Winsome Helen Twelvetrees, dazzlingly blond, first hired as a temporary nurse for the tot, names him Robin and then falls for the boss, who is already promised to another. Complications ensue, along with the kind of suggestive mating humor that would come to a halt one year later with code enforcement.

Not a great comic masterpiece, but easy-going. And a rather sweet little fable if one can deal with an over-abundance of Baby Leroy shots--grinning, making faces, sleeping, but not yet old enough to be obnoxious--that happened a year later with W. C. Fields in The Old Fashioned Way, a rural delight not to be missed!

Vicomte Maurice Chevalier is leading a carefree life, with plenty of lovers -- Adrienne Ames, Leah Ray, the wife of butler Edward Everett Horton -- when some people drop Baby Leroy (in his first film appearance) on his doorstep. Unlike W. C. Fields, Chevalier is enchanted with the tyke. He calls an agency for a nurse. Helen Twelvetrees shows up.

It not one of Chevalier's better vehicles. The songs he sings are not particularly distinguished -- I'd never heard any of them before -- and the three-way courtship between him, Miss Twelvetrees and Baby Leroy proceeds at an erratic pace, interrupted by comedy set pieces lovingly directed by Norman Taurog. They drain alll the momentum from the proceedings, and then the plot begins again with an almost audible clunk.

I have commented in some of my other reviews that It might have been pleasant for some of the dramatic lady stars of the era to have appeared in a comedy instead of suffering interminably. Garbo had a great comedy turn under Lubitsch, and Sylvia Sidney got her chance more than half a century after the era for Tim Burton. Perhaps Miss Twelvetrees could have been funny instead of fragile for some more skilled director; while Taurog was great at handling skilled funny people, perhaps he lacked the chops to get Miss Twelvetrees to be amusing; or perhaps he felt that he didn't wish to interfere with Chevalier's stardom. Or perhaps editor Otho Lovering, who cut some nice dramas, including several for Ford, didn't have a sense for funny pacing.