Certainly when you look at this film as a 1930 musical, the way that songs are integrated into the plot is a marvel, and it has a fluidity that belies the year it was made. That said, this is rather a chore to sit through, compared to the likes of The Smiling Lieutenant and One Hour With You, and despite the appeal of MacDonald in her early, earthy days, before she became partner to the eunuch Nelson Eddy.
There are three main culprits: first, a plot which just doesn't compare to the comedy-dramas of sexual tension and yearning that Lubitsch's best films offer. The others are fantasies, but this is flat out unbelievable, with too many mistaken identities, arbitrary shifts in attitude by the leading lady, and a lack of tension (since all of MacDonald's romantic choices are stinking rich). It's just impossible to care about. The second is leading man Jack Buchanan. It's not just that you can imagine Maurice Chevalier getting something innocently naughty out of the lines which might actually be charming, but as lightweight as he is, Buchanan seems too smart to believe what a doof-slash-stalker he's playing. Imagine Fred Astaire being replaced in Top Hat by Herbert Marshall, or maybe Paul Muni. And finally... at best the songs are unmemorable ditties cleverly staged. One, however, "Trimmin' the Women," could make the short list of worst movie numbers of the golden age of Hollywood. In short, be glad that Paramount compelled MacDonald and Chevalier (who she apparently disliked) to get back together in time for Love Me Tonight.
NOTE: Since viewing the film I have learned that the reels are misnumbered on nearly all surviving prints-- a fact which explains the otherwise baffling scene in the movie where Buchanan, who has already met MacDonald (IF you've seen it out of order), goes to work for her and she has no idea who he is. I'm not saying the movie would be radically better if it was in the correct order, but it would undoubtedly make somewhat more sense.
