Nina Maria Azara is the beautiful and alluring singing spy for Spain during the Napoleonic Wars. Her mission is to seduce French Officers, in order for them to reveal Napolean's intentions ... See full summary »
Robert Z. Leonard
Laughing Boy, is a Navaho from a remote part of the reservation, while Slim Girl was raised by whites in a town and lives as a white man's mistress. They meet at a pow-wow and marry, in ... See full summary »
W.S. Van Dyke
William B. Davidson
Pennsylvania, 1859. Railroad tycoon Brennan (Alan Hale) is muscling in on oil-drilling farmers, led by Peter Cortland (Randolph Scott). Cortland must try to save their oil business, while also saving his marriage to Sally (Irene Dunne).
Victor Florescu is a talented, Brussels-based composer of serious music under the tutelage of respected Professor Bertier at the Music Conservatory. He is hoping to have his yet uncompleted operetta, "The Cat and the Fiddle", produced by famed impresario, Jules Daudet. Victor's focus in life changes when he meets Shirley Sheridan, a New Yorker just arrived in Brussels, she who moves into the pensione next to his own. He falls in love at first sight with her. She is also a composer - of the type of music more often heard in Tin Pan Alley - and is hoping to study with Professor Bertier. But it is Victor who helps her with her music. She also catches the attention of Daudet, who publishes her music although he is more interested in her as a woman. Regardless, she becomes rich and famous, and is required to move to Paris. In the short term, Victor, who moves to Paris with her, is more than willing to forgo his own musical aspirations to help her. But Victor is forced to choose between ...Written by
Jeanette MacDonald's first for Metro is a loose adaptation of the hit Kern-Harbach operetta co- starring Ramon Novarro and Frank Morgan, and alas, she's already becoming MGM Jeanette. A smart, suggestive comedienne at Paramount in things like "One Hour With You" and "Love Me Tonight" (to these eyes, the greatest movie musical ever), she really became a household word at Metro, in operettas, usually opposite Nelson Eddy, that increasingly encouraged her diva- hood. Here, as an American pop composer in Brussels, she's already losing her deliciously risqué sense of humor and indulging in great-lady sentimentality. Fun Jeanette isn't entirely gone, though, and she works well with Ramon, who has an attractive tenor and a good deal more acting skill than some of MacDonald's subsequent leading men. The screenplay, by the Spewacks, runs far afield of the Broadway original but makes room for most of the sublime score. And there's also a good glimpse of Vivienne Segal, a legendary Broadway soprano who'd been playing Jeanette-style leads just a few years back, at the dawn of sound. Charles Butterworth--no stranger to Kern, having supported Helen Morgan on Broadway in "Sweet Adeline"--has some funny bits, and there's a pleasing finale in early three-strip Technicolor. Jeanette followed this one up with "The Merry Widow," where, aided by Chevalier and Lubitsch, she was more her old self. Witness this one for some lovely Kern and for Novarro, but watching Jeanette trade comic finesse for prima donna respectability isn't pretty.
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