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Early Lubitsch musical with great performances and terrible sexism.
National Board of Review Magazine (Jan 1930)
Date of Release: Jan 18, 1930
Studio: Paramount
Director: Ernst Lubitsch
Screenplay: Guy Bolton, Ernest Vajda
Music: Clifford Grey, Victor Schertzinger
Leading Actors:
Maurice Chevalier (Count Alfred)
Jeanette MacDonald (Queen Louise)
Lupino Lane (Jacques)
Lillian Roth (Lulu)
Edgar Norton (Master of ceremonies)
Lionel Belmore (Prime Minister)
Albert Roccardi (Foreign Minister)
Carlton Stockdale (Admiral)
Eugene Pallette (Minister of War)
Russell Powell (Afghan Ambassador)
E. H. Calvert (Ambassador)
André Sheron (Le Mari)
Yola d’Avril (Paulette)
Winter Hall (Priest)
Ben Turpin (Cross-Eyed Lackey)
Anton Vaverka (Cabinet Minster)
Albert De Winton (Cabinet Minster)
William von Hardenburg (Cabinet Minsters)
Margaret Fealy (Lady in Waiting)
Virginia Bruce (Lady in Waiting)
Josephine Hall (Lady in Waiting)
Rosalind Charles (Lady in Waiting)
Helene Friend (Lady in Waiting)
Studio: Paramount
Director: Ernst Lubitsch
Screenplay: Guy Bolton, Ernest Vajda
Music: Clifford Grey, Victor Schertzinger
Leading Actors:
Maurice Chevalier (Count Alfred)
Jeanette MacDonald (Queen Louise)
Lupino Lane (Jacques)
Lillian Roth (Lulu)
Edgar Norton (Master of ceremonies)
Lionel Belmore (Prime Minister)
Albert Roccardi (Foreign Minister)
Carlton Stockdale (Admiral)
Eugene Pallette (Minister of War)
Russell Powell (Afghan Ambassador)
E. H. Calvert (Ambassador)
André Sheron (Le Mari)
Yola d’Avril (Paulette)
Winter Hall (Priest)
Ben Turpin (Cross-Eyed Lackey)
Anton Vaverka (Cabinet Minster)
Albert De Winton (Cabinet Minster)
William von Hardenburg (Cabinet Minsters)
Margaret Fealy (Lady in Waiting)
Virginia Bruce (Lady in Waiting)
Josephine Hall (Lady in Waiting)
Rosalind Charles (Lady in Waiting)
Helene Friend (Lady in Waiting)
The Film Daily (Dec 10, 1929)
Like Sally, The Love Parade received a limited release in late 1929 and was officially released in early 1930.
The Love Parade was frequently referred to in advertising as the “first film operetta,” however The Desert Song was actually the first. Some advertising refers to The Love Parade as the first original operetta, though as it was based on the play The Prince Consort by Leon Xanrof and Jules Chancel, this claim is also not entirely true.
According to Screenland, the film was shot in seven weeks and cost $650,000 to make.
The Love Parade received extensive publicity. In addition to print publicity, songs and scenes from the film were aired on Columbia Radio on the Paramount-Publix Hour. It was the first film to be advertised in a “tie-up” between Paramount and the Philco Storage Battery Company.
The Love Parade was frequently referred to in advertising as the “first film operetta,” however The Desert Song was actually the first. Some advertising refers to The Love Parade as the first original operetta, though as it was based on the play The Prince Consort by Leon Xanrof and Jules Chancel, this claim is also not entirely true.
According to Screenland, the film was shot in seven weeks and cost $650,000 to make.
The Love Parade received extensive publicity. In addition to print publicity, songs and scenes from the film were aired on Columbia Radio on the Paramount-Publix Hour. It was the first film to be advertised in a “tie-up” between Paramount and the Philco Storage Battery Company.
Motion Picture News (Feb 8, 1930)
In an unusual publicity stunt, the Capitol Theatre in Macon, Georgia, had a tie-in with the Goodyear Tire company. A giant tire with a sign bearing the film’s title was positioned outside the theatre, and featured in a parade. Motion Picture News described the stunt as “one of the best traveling “billboards” ever used in exploiting a picture.”
Motion Picture News (Feb 15, 1930)
Some “risque” print advertising (pictured left) caused a stir. Over two weeks, Motion Picture News reported on a scandal that involved an ad printed in the St. Louis Star. Letters to the editor, and an editorial published in the paper, claimed the advert was a prime example of how theatre and motion pictures were “in the gutter.” The Hays Office intervened and promptly had the ad pulled from circulation.
Leading man Maurice Chevalier, who had just appeared in the critically panned Innocents of Paris, was a huge draw. One reporter claimed that Chevalier’s appeal was only to women, who supposedly made up the vast majority of the audiences. Images of the cinema going crowds suggest otherwise.
Leading man Maurice Chevalier, who had just appeared in the critically panned Innocents of Paris, was a huge draw. One reporter claimed that Chevalier’s appeal was only to women, who supposedly made up the vast majority of the audiences. Images of the cinema going crowds suggest otherwise.
The Love Parade premiered in New York at the Criterion Theatre on November 19, 1929. The film was a smash hit, breaking the Criterion’s records for advance sales and continuing to play well during an extended run.
The film was released around the world, including in London, Sydney, and Buenos Aires. In London, the film became the longest running talking picture at the Carleton Theatre. English and French versions were released in Canada.
Unusually, The Love Parade was screened in Antarctica. As reported in The Film Daily, the film was broadcast from the Prince Edward Theatre in Sydney to Richard E. Byrd who was on expedition in the Antarctic.
The film was released around the world, including in London, Sydney, and Buenos Aires. In London, the film became the longest running talking picture at the Carleton Theatre. English and French versions were released in Canada.
Unusually, The Love Parade was screened in Antarctica. As reported in The Film Daily, the film was broadcast from the Prince Edward Theatre in Sydney to Richard E. Byrd who was on expedition in the Antarctic.
Reporters claimed the film was only a draw for women. The images suggest otherwise. (The Film Daily, Dec 20, 1929)
Audiences and critics alike fell for The Love Parade, and the film received universal rave reviews. Reviewers praised the performances of Maurice Chevalier and Jeanette MacDonald, and Ernst Lubitsch’s artful direction.
After reading a slew of ecstatic reviews, I was excited to sit down and watch The Love Parade, which Criterion released on DVD in 2008 as part of an Ernst Lubitsch musicals collection.
German-born Ernst Lubitsch was a prolific actor, writer, director, and producer who was considered one of the finest artists of his generation. His style, known as “the Lubitsch Touch,” was characterized by poignant humor and insightful representations of money and sex. After starting out as an actor, Lubitsch transitioned to directing where he had great success in Germany. His success continued in the United States, where he directed comedies, musicals, and dramas. Criterion released a set of Lubitsch musicals on DVD in 2008. The collection includes The Love Parade (1929), Monte Carlo (1930), The Smiling Lieutenant (1931), and One Hour With You (1932).
The Love Parade opens with Count Alfred (Maurice Chevalier), Sylvanian ambassador to France, caught in yet another love scandal. Alfred is promptly requested to return home to Sylvania for an audience with Queen Louise. Queen Louise (Jeanette MacDonald), who sleeps in late and has time to luxuriate in baths, is tired of all her subjects wondering when she is going to find herself a husband. Count Alfred returns to court, and as punishment for all his affairs is to marry Louise. Alfred may only ever have the rank of Consort, and his life quickly descends into boredom, because it is clearly unnatural for a man to be at the whim of a woman. Louise must keep up the facade of a happy marriage, or else foreign countries will not repay their loans and Sylvania will become bankrupt. The film ends with Louise tearfully declaring Alfred may be King, and order is restored.
Lubitsch’s direction lives up to the hype. The film is visually stunning, with terrific performances by its leads Maurice Chevalier and Jeanette MacDonald. The couple have a pleasant screen chemistry, but it is hard to believe they love each other romantically. Lupino Lane and Lillian Roth deliver equally spirited performances, however their comedic side-plot could be cut from the film without any loss to the story.
The Love Parade features a terrific score by Clifford Grey (who had also composed for Syncopation, Sally, and The Vagabond Lover), and Victor Schertzinger (who had directed Fashions in Love). The songs are light-hearted, with catchy melodies and fun lyrics. Highlights include “Champagne,” a chance for Chevalier to show off his Frenchness, “Let’s Be Common,” a delightful Cole Porter-esque duet, and the rousing “March of the Grenadiers” featuring Jeanette MacDonald supported by a male chorus.
Lubitsch’s direction helps to lift the songs. Clever staging, dynamic camera work, and use of the ensemble to frame the lead singer all contribute to making the songs an integral part of the film. Tellingly, The Love Parade was the first film where critics were not annoyed by the fact characters just broke out into song, without first explaining why.
After reading a slew of ecstatic reviews, I was excited to sit down and watch The Love Parade, which Criterion released on DVD in 2008 as part of an Ernst Lubitsch musicals collection.
German-born Ernst Lubitsch was a prolific actor, writer, director, and producer who was considered one of the finest artists of his generation. His style, known as “the Lubitsch Touch,” was characterized by poignant humor and insightful representations of money and sex. After starting out as an actor, Lubitsch transitioned to directing where he had great success in Germany. His success continued in the United States, where he directed comedies, musicals, and dramas. Criterion released a set of Lubitsch musicals on DVD in 2008. The collection includes The Love Parade (1929), Monte Carlo (1930), The Smiling Lieutenant (1931), and One Hour With You (1932).
The Love Parade opens with Count Alfred (Maurice Chevalier), Sylvanian ambassador to France, caught in yet another love scandal. Alfred is promptly requested to return home to Sylvania for an audience with Queen Louise. Queen Louise (Jeanette MacDonald), who sleeps in late and has time to luxuriate in baths, is tired of all her subjects wondering when she is going to find herself a husband. Count Alfred returns to court, and as punishment for all his affairs is to marry Louise. Alfred may only ever have the rank of Consort, and his life quickly descends into boredom, because it is clearly unnatural for a man to be at the whim of a woman. Louise must keep up the facade of a happy marriage, or else foreign countries will not repay their loans and Sylvania will become bankrupt. The film ends with Louise tearfully declaring Alfred may be King, and order is restored.
Lubitsch’s direction lives up to the hype. The film is visually stunning, with terrific performances by its leads Maurice Chevalier and Jeanette MacDonald. The couple have a pleasant screen chemistry, but it is hard to believe they love each other romantically. Lupino Lane and Lillian Roth deliver equally spirited performances, however their comedic side-plot could be cut from the film without any loss to the story.
The Love Parade features a terrific score by Clifford Grey (who had also composed for Syncopation, Sally, and The Vagabond Lover), and Victor Schertzinger (who had directed Fashions in Love). The songs are light-hearted, with catchy melodies and fun lyrics. Highlights include “Champagne,” a chance for Chevalier to show off his Frenchness, “Let’s Be Common,” a delightful Cole Porter-esque duet, and the rousing “March of the Grenadiers” featuring Jeanette MacDonald supported by a male chorus.
Lubitsch’s direction helps to lift the songs. Clever staging, dynamic camera work, and use of the ensemble to frame the lead singer all contribute to making the songs an integral part of the film. Tellingly, The Love Parade was the first film where critics were not annoyed by the fact characters just broke out into song, without first explaining why.
Despite the performances and music, the inherent sexism in The Love Parade makes for painful viewing. The basic premise of the film is that women should be submissive to men. Even as queen, Louise cannot escape the fact she is “just a mere woman.” She is defined only by her beauty, having the most “perfect” legs in the land, and her relationship to men.
Along with its overtly sexist script, The Love Parade also suffers from racism. The entire population of the fictional Sylvania is white (though I suppose it receives points for not casting people of color as servants). The token foreign head of state is Afghani, known for his belief that women can’t hold power, and played by white actor Russell Powell dressed with a turban.
Perhaps worth a watch for early Jeanette MacDonald and Maurice Chevalier, and a demonstration of Lubitsch’s iconic style, but not a recommended early movie musical.
Along with its overtly sexist script, The Love Parade also suffers from racism. The entire population of the fictional Sylvania is white (though I suppose it receives points for not casting people of color as servants). The token foreign head of state is Afghani, known for his belief that women can’t hold power, and played by white actor Russell Powell dressed with a turban.
Perhaps worth a watch for early Jeanette MacDonald and Maurice Chevalier, and a demonstration of Lubitsch’s iconic style, but not a recommended early movie musical.
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