The Great Lover

Of some interest to opera lovers. Irene Dunne shows off her real-life operatic talents which I'm unqualified to judge. Herman Bing, brother of opera impresario Rudolf Bing, plays a comic Wagnerian tenor and sings a little. Some comic bits about typically temperamental opera stars.

Plot revolves around a romantic triangle with Menjou as an aging opera star in New York, Hamilton as his understudy, and Dunne trying to break into the business. Turns out Dunne and Hamilton had a warm but chaste relationship while studying in Europe.

IMHO this started out to be a bit racier than your average opera flick but the studio got cold feet. Early on, Dunn seeks Menjou's mentorship and possibly more. People keep warning her about his reputation as a womanizer and she keeps saying she doesn't care, she'll do anything to get ahead even though, in the language of the day, she's maintained her "purity." Then this thread disappears and it becomes a tepid battle for her hand in matrimony between the two male leads.

Cliff Edwards has a Lee Tracy type role as a fast-talking PR man that fades away without connecting with the plot too much. Ernest Torrence plays Menjou's manservant as an effeminate sort whose only interest in life seems to be arranging and spying on his employer's love life. Kind of creepy.

Adolphe Menjou convinces as neither a great lover nor a great singer (his operatic singing voice is clearly dubbed) in this so-so pre-code romantic comedy. A young Irene Dunne fares only slightly better as a young songstress willing to prostitute herself with him in order to gain a foothold on the ladder to success, much to bland ex-boyfriend Neil Hamilton's great distress. Ernest Torrence is a highlight as Menjou's manservant, who identifies so closely with his boss that he refers to him as 'we'.

One of the posters on this board described this as something for opera fans, and another said it was "built around opera."

"The Great Lover" stars Adolphe Menjou as Jean Paurel,an operatic baritone who loves women. Diana Page (Irene Dunne) idolizes him and wants to study with him, and he takes her on, with the objective of taking advantage of her. Meanwhile, another baritone is in love with her (Neil Hamilton, who became the commissioner on the TV show Batman), and she is resisting him.

Paurel finds himself falling for this young woman and becoming engaged to her. When Paurel loses his voice one night, his understudy is Diane's ex-boyfriend. What will happen? Does Diane truly love Paurel, or is she just bewitched by what he can do for her?

This isn't much of a story, obviously, and as far as opera, if you're going to do it, do it right because the fans of opera aren't going to like it.

Dunne had a very pretty voice, but being trained in the old school, she has a quick vibrato and backs off the high notes. She sings part of La ci darem la mano from Don Giovanni, part of Je veux vivre from Romeo & Juliet, and part of Una Voce Poco Fa from Barbiere di Siviglia. The Je veux vivre was stopped before the showy part as if it was the end of the aria. All the baritone knew was the phrase "La ci darem la mano" - and that's it. To top it off, it is announced that she will be playing Donna Elvira, but when she makes her Metropolitan Opera debut, it is in -- guess - Don Giovanni in the role of Zerlina, which instead of the third female lead, is now the lead, and she bows with Menjou. Forget Donna Anna and Donna Elvira, I guess they were with the chorus somewhere.

With such a slight story and such unsatisfying opera, I didn't care for it.

Every cliche in the book. I even heard a character say, "Come up and see my etchings."

In this early talkie the actors still think they are in the silent era. Adolph Menjou is horribly miscast as a latin lover.

The singing is only passable.

"The Great Lover" has been described by reviewers here as "an opera story" without much story. Although the film takes place in and around opera, I consider it to be about theater. As talkies took the place of silent films, it was natural for filmmakers to look to the stage for great stories. "The Great Lover" may not be a theater classic, but it has a classic story and is written as many of the great plays are--with s simple theme and writing that requires great actors to fill in the spaces between the lines with emotional subtlety. Aldolphe Menjou--as the womanizing opera star Jean Paurel--does a terrific job of conveying each emotional note of his role.

He is aided by Ernest Torrence, who plays Potter, his manservant. Torrence is a delightful actor with great range, whose career would be tragically cut short a few years later. His talents gave him success in both silent films and talkies.

The primary object of Paurel's affections is Diana (Irene Dunne). He woos her like every other woman, then finds she is more to him. Through his passions for her and music, he discovers another side to himself even as he recognizes his true nature.

Though described as a drama, "The Great Lover" feels more like a comedy to me, with elements of many of the basic comedy forms.

While it is not a great film, I thoroughly enjoyed the direction and acting required to make its characters understandable and engaging.