The Love Parade

31 Dec

The Love Parade  — directed by Ernst Lubitsch –A musical comedy in which The Queen of Sylvania is pestered by her people to wed. She’s fed up with the idea. Suddenly in walks The Count, sent home from Paris for his shenanigans. She no sooner claps eyes on him than she marries him. Then, of course, the trouble starts. black and white sound [1929]

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Maurice Chevalier could not say two lines together. But he could say one line together. Each time he is given a second line a pause falls between them and with that pause worlds come to an end. So every two-line speech sounds like a recitation. From the beginning to the end of his performing life, which was long, this was so. But even so, he is delightful. He really likes women as they are. He really likes himself as he is. He really is pleased how much women like him. He is full of good will and kindness towards everyone. And he is a really responsive actor. And occasionally, as here, he will even sing, and we will have to listen to it. However, what we have here, amid stupendously luxurious sets, polished floors, ceiling to floor swags, and scads of servants, is the sexuality of Jeanette MacDonald, who physically resembles no other actress so much as Geraldine Page: the same long graceful arms and hands, the same beautiful legs, the lanky torso, the shape of her head, her rich smile and lickerous eye. But the main resemblance is her sexuality. No, she was not sexy, she was something more profound and rare in women: she was visibly sexual. This is the telling quality against which her domineering behavior over her new husband comes a cropper. This is the, but never stated, visual adventure of this film for us: the comedy between MacDonald’s female sexuality on the one hand and Chevalier’s male sensuality on the other. Will they survive? Will they mesh? Will they last? Is there a plot? Does there need to be? Do you really need to know where the bucket came from in which that champagne bottle was nestled? You’d better say no.


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