Interesteg What makes it different from others?

StunnaKrypto Self-important, over-dramatic, uninspired.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Sienna-Rose Mclaughlin The movie really just wants to entertain people.

JohnHowardReid Welcome to an Ernst Lubitsch musical comedy, full of wonderful examples of his celebrated "touch". Of course some of these touches were present in the screen story by Ernest Vajda and some may have been added in the additional dialogue by Vincent Lawrence. Our star, Jeanette MacDonald is charmingly photographed and is in fine voice. This was a Paramount picture and therefore the sound recording was top notch and not third-rate as it often was in Miss MacDonald's MGM pictures. Among the songs presented here, I particularly liked "Beyond the Blue Horizon", "Always in All Ways", "Give Me a Moment Please", "She'll Love Me and Like It", "Trimmin' the Women", and "A Job with a Future". As usual, Hans Dreier's gorgeous sets make a notable contribution to the movie's success. In all, "Monte Carlo" is a most pleasant, witty and diverting offering.

jarrodmcdonald-1 In Ernst Lubitsch's Monte Carlo, Jeanette MacDonald is paired with Jack Buchanan, instead of her usual partner Maurice Chevalier. Miss MacDonald's acting is not as sharp as Marlene Dietrich's might have been in the role. The picture needs an amoral diva, and Jeanette is too sweet, too soft to play such a role. The rest of the film is fine and it contains the usual humor associated with a Lubitsch production. The story is about an aristocratic woman (MacDonald) who browbeats and abuses her personal stylist, a male, at every turn (Buchanan). She fires and hires him back countless times, and gradually realizes that she loves him. The irony is that he is a moneyed aristocrat himself, in hiding from his wealthy family. The highly implausible story is saved by the music and inspired direction.

mrdonleone I'm going to try to convince you that this picture is not as good as they say, it bored me like hell. please don't forget that I like the genre, romantic comedies rule (especially Les Pärapluies de Cherbourg). but I don't know, maybe I felt bad about it because I just had an exam or maybe I didn't like the length of it (90 minutes) because I still had to go to school. so yes, maybe the movie was interesting, because I watched it until the end was long gone.but I'm afraid I will have to confess I only watched this because it was standing in my book with hard to find movie titles in it. maybe I sound a bit negative, which I am not, let me assure you that I can be happy with a small gift. and yes, Jack Buchanan does in fact steal the audiences attention completely to him. but than again, if you like Buchanan, go see The Band Wagon and not this Monte Carlo (even though he doesn't sing bad in here).so why did I wrote this review, beginning with saying I would prove you the film is not as good as they say it is, writing down why I didn't like the picture? that's no argument. well, maybe it's just a bad movie in my eyes, go see it and judge this picture yourself.

Terrell-4 What is there about Lubitsch endings? In this 1930 film Monte Carlo we're in the Monte Carlo opera house watching two people as they watch the end of the operetta, Monsieur Beaucaire. In one box is the handsome and debonair Count Rudolph Falliere. In another box is the beautiful and sad Countess Helene Mara. Monsieur Beaucaire is all about a nobleman who pretends to be a hairdresser so he can be close to and woo a noblewoman. Lubitsch's Monte Carlo is all about…well, a nobleman who pretends to be a hairdresser so he can woo a noblewoman. The situation as it plays out for us observers is amusing, clever and sophisticated. We wind up thinking, because we know what's going on, that perhaps we're amusing, clever and sophisticated, too. It's a wonderful way to end the movie.How we got to this point is just about as amusing as the ending. Countess Helene Mara (Jeanette MacDonald) left her twit of a fiancé, Prince Otto Von Seibenheim (Claude Allister) at the alter. Otto is the product of far too much noble inbreeding. She hops a train with her maid and decides to go to Monte Carlo where she will, of course, make piles of money at the casino. Count Rudolph, a charming and rich fellow, falls for her as soon as he sees her. Without a proper introduction, of course, he decides he must take the place of her hairdresser in order to meet her. Before long, he has also taken the place of her lackey and her chauffeur…and speculates about the moment when he'll take the place of her maid. And pursuing Helene Mara is her fiancé, the dim-witted Prince Otto. There are some songs, some kisses, much nearly transparent lingerie worn fetchingly by Helene Mara, a number of cocked eyebrows by Rudolph (now Paul the hairdresser) and much light-hearted suggestiveness by Lubitsch. "Oh, oh, oh, oh... ohohohoo... that feels good!" says Helene Mara, while her maid listens behind a closed door. "... oh, oh!...that feels even better... you must have electricity in your hands! I've never felt like this before!" Lest we speculate with as much interest as the maid, Paul is merely massaging Helene Mara's scalp. Unlike Monsieur Beaucaire, this couple has a happy ending because, reasonably enough, that's what they want.Jeanette MacDonald gives a first-class performance that combines haughtiness, longing and sexuality. She looks great in her scanties. When she hides the key to her bedroom so that she won't be tempted to open it and let Paul enter, it involves three keys, each smaller than the last, two boxes and a pillow. MacDonald is just as delightful in the morning trying to figure out what she did so she can get the bedroom door unlocked.For modern American audiences, Jack Buchanan probably is something of an acquired taste. In Britain during the late Twenties and Thirties he was a huge star, particularly on the British stage. Critics called him the English Fred Astaire. The upper U accent, the careless confidence, the high-nose nasality, the slight hint of upper-class entitlement are a little dated today. Like many leading men of the Twenties and Thirties, before the style went out of fashion, he seemed to promise for duchesses and shop girls alike days of laughter and nights of exquisite passion, without dwelling too much on the mechanics of that passion. While his style is now dated, watch how he uses inflections, a quick expression, some physical business, how he laughs. Buchanan knew what he was doing and he was good at it. There are several things of his from the Thirties that you can see on YouTube. Nowadays he's better known as having played Jeffrey Cordova in The Bandwagon with Astaire.You'd have to have a severely ingrown toenail not to watch Monte Carlo with a smile, especially that ending.