The introductory sequence, in which the rhythmic noises of early-morning Paris are worked into a massive musical number, is in the style of Disney's Silly Symphonies. In most other areas, this Rouben Mamoulian musical is in the style of Ernst Lubitsch (Mamoulian's musicals skip wildly in style, from the gritty naturalism of Applause to the giddy parody of The Gay Desperado to the epic extravagance of High, Wide, and Handsome to the pastel nostalgia of Summer Holiday to the cosmopolitan urbanity of Silk Stockings), and in its sly lasciviousness and its witty camera placements it is pretty well the equal of its model. With Maurice Chevalier, Jeanette MacDonald. (1932) — Duncan Shepherd
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