The King Steps Out

I've always liked Grace Moore in movies, though I'm not quite sure why. She wasn't the greatest singer, and she had some annoying vocal mannerisms. But she certainly sang with enthusiasm, and that is probably what I've enjoyed about her film appearances.

Sometimes, as in her first success, One Night of Love, the singing was spirited but her delivery of dialog often stilted. That's not the case in this movie. She really comes across most often as very comfortable and natural, qualities that her co-star, Franchot Tone, had in spades. That, I think, is what makes this movie work for me. They are very good in their scenes together, very believable.

What remains a problem for me is the musical aspect of this movie. Others have complained that the songs aren't memorable. For me some are, like The Old Refrain, others not. But the big problem, for me, is that all the musical numbers, with the exception of one march, are vocal solos for Moore. (The march is sung by a men's chorus with Moore singing over them.) Because none of the other characters ever join in the singing, the musical numbers seem isolated from the rest of the picture, and it comes off less as a musical than as a romantic comedy with inserted songs. If you contrast it with a Jeannette MacDonald/Nelson Eddy or Maurice Chevalier picture from the same era, you see the difference.

The plot, as Viennese operettas go, isn't bad. The supporting actors are all good, though I agree that a little of Herman Bing goes a long way, and there is more than a little of him here.

All in all, an agreeable romantic comedy, with inserted songs that don't do anything to advance the story and could, indeed, be cut out without any loss in most cases.

This one is tough to honestly evaluate. On the one hand you have Grace Moore and her wonderful voice, able and adequate supporting roles, notably by the always reliable and graceful Frieda Inescort, Franchot Tone and Walter Connoly, and of course Sternberg's direction. For me at least that's reason enough to watch any movie, even this one which in some ways is an utter disaster. On the other there's just too much silliness, foolishness and Herman Bing. He can be aggravating enough even in small doses but he does way too much of that trademark tongue rolling and quaking of his for my taste.

And then there's the ages of the real Sisi (Moore's character, Elisabeth of Bavaria) and Franz Josef (Tone's character). When Sisi married Franz Josef she was 16 and he 24, not 40 and 30, the ages of Moore and Tone respectively. Even given the generous poetic license the producers took with the real story which is nothing if not tragic, there's only one way to look at this movie. It is nothing more than a vehicle for Grace Moore. And maybe that's reason enough to watch it.

Grace Moore stars as a feisty younger daughter of the eccentric Duke of Bavaria (Walter Connolly) whose oldest daughter is off to Vienna to marry the Emperor (Franchot Tone). Moore follows along, masquerading as a dressmaker. The arranged royal marriage when Tone spies Moore and is smitten. The masquerade continues in a merry mix-up until the finale.

Moore is good here, light and comic, but the songs are all rather bland. Tone is handsome as the Emperor, and Connolly steals the show as the beer-guzzling duke. Co-stars include the wonderful Herman Bing as proprietor of the inn, Elisabeth Risdon as the Empress, Nana Bryant as the mother, Frieda Inescort as Helena, Victor Jory as Palfi, Eve Southern as the fortune teller, and Johnny Arthur as the inept chief of police. Others include Thurston Hall, Raymond Walburn, Al Shean, E.E. Clive, William Hopper, and George Hassell.

Moore had a hit-or-miss 9-film career in the 30s, She flopped badly in her 1930 debut in A LADY'S MORALS but had a big hit and an Oscar nomination for ONE NIGHT OF LOVE in 1934.

And yes, Broadway Superstar Gwen Verdon made her film debut here as a ballerina. She was 11 years old.

Notable for starring Grace Moore, being directed by Josef Von Sternberg and having tunes by none other than violin virtuoso and composer Fritz Kreisler, 'The King Steps Out' is still an enchanting and very entertaining film in its own right.

Its weak point is the story, which is very slight and occasionally veers on the wrong side of absurd. Herman Bing's role is also a little over-exposed, and while Fritz Kreisler's songs are lovely, lushly orchestrated and full of energy and pathos the only ones that really have unforgettable staying power are "Stars in My Eyes" and "What Shall Remain" (there's absolutely nothing wrong with them, they just don't have the wow factor).

'The King Steps Out' is a gorgeous-looking film though, with sumptuous period detail and photography that really shimmers. The script is heart-warming, light-footed and smart, with Walter Connolly and especially Herman Bing (did mention about him being over-exposed but still loved the performance) providing some scene-stealing moments, Bing especially delighting by facial expressions, use of voice and body language.

Sternberg directs more than competently, personally didn't think any lack of trust in the material came through, and the energy and enchanting charm 'The King Steps Out' exudes in every frame makes it such an easy film to like. Moore proves to be a graceful leading lady, beautiful in voice and a deft comedienne, while Franchet Tone is elegantly charming. Their chemistry is sweet and wholly natural.

All in all, slight but enchanting. Moore may be the main attraction, but she is certainly not the only reason to see this. 7/10 Bethany Cox

Every serious director seems to have one frivolous gem of a comedy in him. Bergman had Smiles of a Summer Night. Hitchcock had Mr. and Mrs. Smith. This is von Sternberg's. The sometimes starchy "Miss Grace Moore" is relaxed and charming. Kriesler's tunes are as buoyant and sleek as the decor. Rich and sweet as a Viennese pastry and total escapism -- if one can forget the sad fate of the real-life Cissy who was mistreated by husband and mother-in-law and eventually assassinated. Another Hollywood deviation: Cissy was noted for her gorgeous hip-length black hair. Moore has short blonde curls. Oh, well, forget such petty details and let's have another delicious, delirious waltz.