Ernst Lubitsch jumped from the Paramount lot, where he reigned supreme, to MGM for this one musical only. And to all of his lavish requests for re-creations of mythical kingdom and legendary Par-ee, the new studio did not know how to say no. Subsequently, this gargantuan dream, with hopes pinned on the eternity of the Jeanette MacDonald-Maurice Chevalier chemistry, fell on its face. Financially speaking, that is. Artistically, it's a beauty. Lubitsch's coy wit is as scintillating as it ever is; and there is also, stronger than ever, a just suppressed discontent beneath all the stiff and precise adherence to proper courtly form. And on a few occasions, there's a delirious feeling of truly letting loose: when Jeanette MacDonald first begins to sing, for instance, or when, for an even better instance, she first begins to dance. Una Merkel, George Barbier, Edward Everett Horton. (1934) — Duncan Shepherd
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