The King and the Chorus Girl

Joan Blondell is sexy, in a frumpy sort of way, and she somehow manages to be both pretty and ugly at the same time. Think of her as the Lisa Kudrow of her day. In this movie Joan acts opposite Fernand Gravet, Belgium's greatest import since waffles. Try not to think of him at all. And they both act opposite Edward Everett Horton, a whimsically asexual chap who elevated flittering to an art form. Think of him as the Jm J. Bullock of his day. But, of course, the actors are secondary to the screenwriter in this pleasantly forgettable film, as the man behind the typewriter was none other than Groucho Marx, the Groucho Marx of his day. Groucho's contributions to the screenplay are most noticeable near the beginning, in scenes of forced banter between Gravet and Horton, which only proves how unfunny Groucho the writer can be without Groucho the actor delivering the lines. If you're truly interested in how funny Groucho the writer can be, then avoid this film and read his autobiography Groucho and Me, or The Groucho Letters. If you want to see Joan Blondell in something good, rent A Tree Grows in Brooklyn. And if you absolutely must have a dose of Edward Everett Horton, watch Bullwinkle.

Since the first time I watched this a few years back, I have thought it was a little gem. As an older woman, I really enjoy Joan Blondell as the caberet chorus line gal, who catches the eye of a former king (Fernand Gravet) of a small country, who thinks she is flirting with him because in the act each girl is to pick one part of the audience to sing to.

As a lush who drinks and parties all night and sleeps all day, his retinue is most concerned about him. When Blondell spurns his advances which piques his interest, his staff (Edward Everett Horton & wife) decide to get her to keep doing it so he will try to win her. Of course, he keeps chasing her until she catches him.

The fun is in watching Gravet and Blondell interact with each other. Both are charming and we have fun right along with them. For a sweet and witty comedy from the 30's, I give it a 9/10 for pure sit back and enjoyment.

Enjoyed this classic 1937 film which was a very cute comedy about a King played by Fernand Gravet,(Alfred Bruger VII) who falls in love with a chorus girl played by Joan Blondell, (Miss Dorothy Ellis). Alfred Bruger the King fell in love almost immediately after viewing her as a chorus girl and wound up taking her to his home and she locked him in his own bedroom and would not let him out. There is plenty of comical games being played between this couple and they both fall deeply in love with each other. The King even hires an entire cruise ship to capture Dorothy Ellis in an effort to propose to her and never let her get away. Edward Everett Horton,(Count Humbert Evel Bruger) gave a great supporting role and added plenty of comedy in many scenes. If you look close, you will see Jane Wyman, (the former wife of President Ronald Regan).

I really only know FERNAND GRAVET from his playing of Johann Strauss in THE GREAT WALTZ and was not overly impressed with his by-the-numbers impersonation of the great music master.

So, truth be told, I wasn't expecting much from this little comedy co-starring him with JOAN BLONDELL, another so-so actress who occasionally had a bright role to play in films like A TREE GROWS IN BROOKLYN but usually had to be content with less than impressive roles in screwball comedies of the '30s and '40s.

Considering that the script for THE KING AND THE CHORUS GIRL is penned by Norman Krasna and Groucho Marx, it's a shame the material lacks the sort of wit to be expected when those two minds collaborated. Let me put it this way--Gravet is supposed to be able to sit through a show with his eyes wide open but asleep. That's the way I felt forcing myself to stay with this "comedy".

He sits patiently through KENNY BAKER's tenor solo at a nightclub in Paris on a huge art deco set but is soon transfixed by flirtatious bit of business from JOAN BLONDELL as a chorus girl flashing a mirror beam at his face and promptly decides he wants to have dinner with her.

Blondell is introduced to EDWARD EVERETT HORTON as a Count and MARY NASH as a Duchess before her dinner date with Gravet, as King Alfred VII. The trouble is the bored king has fallen asleep.

There's such a lack of wit in the writing that you may fall asleep too. Hard to believe that with this pleasant cast, Krasna and Marx couldn't do better. It's a screenplay that strains to be funny--but isn't.

Gravet is more animated than usual in comedy, but is most convincing when he's bored. Blondell is prettily photographed and pleasant as the chorus girl but it's a role that's no stretch for any young actress.

Wasted in a supporting role is JANE WYMAN (with French accent), who would later do another little Krasna comedy called PRINCESS O'ROURKE in a much better supporting role.

The slim plot depends upon Blondell's resistance to the King's charm, determined as she is to be as unimpressed as possible. Their first meeting ends disastrously with Blondell finding his behavior boorish. It's the sort of theme that was much better done years later with Marilyn Monroe and Laurence Olivier in THE PRINCE AND THE SHOWGIRL.

Summing up: Fernand Gravet tries hard but he's no Cary Grant in screwball comedy--and both he and Blondell needed a better script!

Overlong but fun to watch. Joan Blondell has great skill and beauty while Edward Everitt Horton's flutters and double takes always lift a film