New Moon

Lawrence Tibbett and Grace Moore meet on board the New Moon, crossing the Caspian Sea, bound for Adolph Menjou's newest assignment and marriage to Miss Moore. Of course the two great singers fall in love singing duets. Menjou gets wind and looks to get Tibbett resassigned some place he can't pose a threat.

MGM made some peculiar changes when they filmed the hit operetta (it had played over 500 performances on Broadway). They changed its setting from New Orleans to the Russian Empire for one thing. Well, exotic Russia was a popular setting for drama and comedy in the period. Cameraman Oliver Marsh struggles to keep his camera moving, leaving most of the struggle for cinematic excellence to Margaret Booth's editing. Also, Mr. Tibbett is a funny-looking fellow, with an obvious hairpiece and a double chin. He's not at all anyone's idea of what a romantic leading man should be.

Still when the leads start to sing, I forgot these issues. While the stye of music that Sigmund Romberg wrote for this show is strident, it includes the martial "Stout-Hearted Men" and the splendid "Lover Come Back To Me."

In this technically proficient (for 1930) MGM'er, Lawrence Tibbett is wooden; Grace Moore isn't. One listens for the songs which are nicely done. Adolph Menjou is his usual oily presence. Jack Conway does a decent directorial job. I'd rate it 2 and 3/4 stars.

Yes, it's an early musical based on an operetta and inherently ridiculous, silly, and overblown. Those are its best qualities too. As Oscar Wilde said, nothing succeeds like excess.

Lawrence Tibbett and Grace Moore don't go together, except when they sing. The combined force of their voices on "Wanting You" and "Lover Come Back to Me" is a sonic wonder to behold. Moore's acting is not bad, but she has a haughty standoffish quality toward the camera. Tibbett is more relaxed and retains the buoyant swashbuckling brio--and shattering baritone--that made him unique as an opera singer/film star. The supporting cast is a worldly set of sly dogs: Adolphe Menjou, Roland Young, and Gus Shy.

Director Jack Conway and cinematographer Oliver T. Marsh sneak in bits of camera movement more sophisticated than expected, but the editor seems to fall asleep on occasion. The picture throws in some vigorous battle scenes at the end; they're marred by undercranking.

New Moon is a pre-code film, with some eyebrow raising lines and innuendos in its first third. Most jaw-dropping is Tibbett's savage performance of "What Is Your Price Madam"--at an engagement party!

The plot of this Hammerstein-Romberg operetta worked just fine on the Broadway stage in 1928, but for some incomprehensible reason was relocated by the filmmakers from New Orleans during the French Revolution to Tsarist (!) Russia in some undefined fantasy time period, complete with flagrantly anachronistic 1920's automobiles. The lovers, Lawrence Tibbett and Grace Moore, are vocally superb but physically ill-suited to each other. Although she sings beautifully, Moore looks frumpy, middle-aged and rather sour throughout, and behaves more like her own disapproving aunt than the young princess she is supposed to be playing. It's hard to tell if she is in love with Tibbett or contemptuous of him. Tibbett himself, with his unusually boyish features, nevertheless cuts a commanding figure, making a compelling hero in the military mode. Two of the best-known songs from the piece, "Stouthearted Men" and "Lover Come Back to Me," are given ample screen time. Generally speaking, the tone of the film is light and even tongue-in- cheek, as befits the operetta tradition. But the experience of the Tibbett-Moore duo makes it clear why there was a need for Jeanette MacDonald and Nelson Eddy. The pacing isn't bad (better at the beginning) and the songs occur frequently enough, though after about an hour you just want them to get on with it.

MGM scrapped the ridiculous plot of the 1928 Romberg-Hammerstein stage operetta and replaced it with an even more ridiculous one, with Russian lieutenant Lawrence Tibbett romancing Princess Grace Moore despite her engagement to nobleman Adolphe Menjou. It's the sort of movie where characters say things like, "The one attractive woman on this ship and she would be a princess!" And Moore isn't especially attractive; she's dowdy, looks oddly at the camera, and is got up in some genuinely bizarre MGM fashions. Her character is shrewish, too, so when Menjou dispatches Tibbett to some remote outpost to battle some menacing, vaguely Turkish insurgents, you really feel he's better off without her. An eternally suave and amusing Roland Young defuses some of the operetta silliness; but it's hard not to get the giggles when Tibbett, trying to rouse the troops, barks endless song cues -- "All right, can I have 20 brave men with me? Fifteen? How about 10?" -- before launching into "Stout-Hearted Men." The climactic battle is clumsily shot and unconvincingly run in fast motion, like a Mack Sennett comedy, and it's never really in doubt whether Tibbett will return to Moore in one piece (singing full-voice, of course, whatever his wounds). The ludicrous conventions that killed operetta are omnipresent. But the score's good, and the two opera-trained stars do give enthusiastically of themselves when called on to sing. That's what counts.