The Love Parade

Poor Queen Louise – when she is awakened by her attendants she has been dreaming of love but must face another day in the Kingdom of Sylvania without a husband. When an errant military adjutant is recalled from Paris to face her censure she falls for his charms and he for hers, and they marry. But the Queen's new husband is unhappy in the role of obedient consort. Conflict arises but is eventually resolved, as we know it will be in operetta land.

This early Lubitsch musical rates about the same as MONTE CARLO made a year later. The highlight here is the performance of Maurice Chevalier as the consort, a sort of pre-Cary Grant Cary Grant, Gallic style. He has the same effortless magnetism and charm and a certain physical resemblance. Jeanette MacDonald is as good here as in MONTE CARLO, handling songs and dialogue with equal aplomb and looking gorgeous in her filmy gowns. As is usual with Lubitsch, there is a superior supporting cast, here including the formidable Lupino Lane as Chevalier's valet, a sassy and brassy Lillian Roth as Lane's love interest and Edgar Norton as the "Master of Ceremonies," the personification of royal lackey. Another Lubitsch hallmark, the measured depiction of ritualistic daily activities, gets much display in the context of the protocols of a royal palace. The songs by Victor Schertzinger and Clifford Grey are only passable and the primitive sound recording doesn't help in getting them across but the tone of the whole enterprise is so frothy and pleasant that one doesn't mind not hearing all of the lyrics.

When you compare this film to other musicals from the dawn of the sound era like Broadway MELODY the difference is glaring. Lubitsch's camera is liberated and fluid and we get an assortment of physical approaches to song and dance numbers which themselves vary in style from pompous operetta-military to musical hall slapstick to Gilbert-and- Sullivanesque call-and-repeat choral to intimate romantic duets. There is a hint of LOVE ME TONIGHT in some of the ensemble work, particularly with the palace staff. And the script is studded with witty observations and clever comic constructions, some via dialogue, some through pure visuals. THE LOVE PARADE illustrates that in 1929 Rouben Mamoulian (APPLAUSE) was not alone among film directors in recognizing the value of sound as an artistic element and in refusing to subordinate the freedom of the camera to the dictates of miking.

An early musical (Ernst Lubitsch's first talkie), so the sound can be hard on the ears (especially Jeanette MacDonald's high notes). The plot as such is forgettable, but see it for the performances.

It seems odd to match Jeanette MacDonald's operetta singing with Maurice Chevalier's cabaret, but each gets their own numbers and they join in the middle for duets.

Lupino Lane and Lillian Roth do two wonderful vaudeville style song and dance numbers.

Count Alfred (Maurice Chevalier) has disgraced his home country of Sylvania with one too many scandalous affairs with married women, and the ambassador of Sylvania commands him to return home. Alfred's manservant, Jacques (Lupino Lane), begs to come along, and his master relents. Alfred, burdened with a newly acquired French accent that makes him sound most un-Sylvanian, fears the wrath of his queen (Jeanette MacDonald). But instead of having him shot, she falls in love with him, and he with her. The entire kingdom, which has had nothing on its mind except seeing the queen get married, is thrilled. As Jacques and Lulu the maid (Lillian Roth) conduct their own romance, reveling in their commonness, Alfred discovers at the altar that his own marriage will be most uncommon - and a dire threat to his manhood. He may be marrying a queen, but he most definitely won't be a king.

Ernst Lubitsch directed this marvelous technical and artistic achievement back when other early sound films were still stumbling along. Four outstanding performances from four witty and charming performers (Chevalier, MacDonald, Lane and Roth) grace this lavishly produced musical comedy with its champagne-bubble songs and sexually-charged dialogue.

As covered in previous comments The Love Parade is important historically, with it being Jeanette MacDonald's debut, Maurice Chevalier's second film, director Ernst Lubitsch's first sound picture and Chevalier and MacDonald's first pairing together. But The Love Parade still does manage as well to be, apart from some primitive sound quality, a great film and compares favourable within Lubitsch's mostly consistent(in a good way) filmography.

The costumes and sets in The Love Parade are wonderfully opulent and the photography is very stylishly done. Lubitsch's distinctive style is evident all through the film, bringing a huge amount of class, subtlety and elegance. What he also did brilliantly was making camera and sound effects more flexible counterpointing the music numbers, and also even for his first sound picture having a technical mastery already with apparently having two sets built for one number shot simultaneously with the orchestra off screen between the two sets, going back and forth in the editing, something that had never been done before. The songs are very pleasant and memorable at least, with the beautiful and catchy duet My Love Parade, the charmingly intimate Dream Lover and the hugely entertaining Let's Be Common faring the best. The choreography's elegant and poised and in other places witty and inventive, the highlight number in this regard being Let's Be Common.

The script was one of my favourite things about The Love Parade, it was very sophisticated and deliciously witty, particularly funny was the writing regarding the Count's political uselessness. There's even some sexual innuendo that was very ahead of its time back in 1929. The story is full of immense charm and sophisticated style with a seductive edge, not ever making the mistake of being dull or improbable(and if it did really it would not be as glaring as the story in Monte Carlo). The characters are very likable and the performances from all four leads do not disappoint at all. Noteworthy especially were MacDonald whose screen debut was a revelation being both sexy and regal and singing like an angel and Lupino Lane whose incredible physical comedy is enough to make one seethe with envy. Sassy Lillian Roth sparkles as Lane's partner and Chevalier is the epitome of Gallic warmth and charm. The chemistry between him and MacDonald beguiles and for two relatively different singing styles they blend remarkably well when singing together.

Overall, a great film. While I may prefer The Merry Widow, Heaven Can Wait, The Shop Around the Corner and especially Trouble in Paradise over The Love Parade it is unsurprising that The Love Parade was a huge hit at the time and still wins over people now. 9/10 Bethany Cox

the sort of film that filmmakers to day are unable to make. it is too simple for them. it has a story with a beginning, middle and end. far too simple for the current crop of genius. the stars were real stars i swear they sometimes glittered. the directors famous touch was in fine form and even after many years i can remember walking home in a romantic glow. could anyone do the same after watching one of to days EPICS. i agree there must have been sound faults and other technical problems though i do not remember them. later on i heard a radio version also enjoyed. like far too many films of the past the love parade is unavailable to us on video or DVD. it may have been damaged and no longer usable though i do hope not. if there is any way to urge the current copyright owners to re-issue the film i would certainly like to be involved. are there other enthusiasts out there who agree?