ThiefHott Too much of everything

Animenter There are women in the film, but none has anything you could call a personality.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Kinley This movie feels like it was made purely to piss off people who want good shows

JLRMovieReviews Lily Pons is "That Girl from Paris," a Paris opera singer, who is supposed to be getting married but runs from the altar because she doesn't love her rich socialite fiancé. She runs into Gene Raymond and instantly they create silly friction between them. But this film is zanily haphazard and fast-paced, with two flat tires, them singing while eating horse! and generally teasing each other. Then, she wants to sail on cruise ship to America, but things are never that easy. Due to complications, she has to be a stowaway and naturally tags along with Gene Raymond and his jazz/blues band. This moves very quickly and, if you're not paying attention, you'll wonder what just happened. The police are after her in America, because she entered the states illegally, and half the movie is about them hiding her and the other half is the romantic scenes between Lily and Gene. But band member Jack Oakie also has designs on her. The music is very delightful. I enjoyed the roof scene very much and also the song where they blended her style of singing with their music. Lucille Ball is the girl singer of the band, but of course Lily sees to it that Lucille can't perform, so she can. I had a great time and wish I watched this before now. Discover Lily Pons and "That Girl from Paris" today!

timothymcclenaghan Don't be put off by other negative critiques. Forget that Lily Pons was a highly regarded opera singer, or that somehow she condescended to appear in a movie. I don't know for sure, but I suspect that Pons was offered a great deal of money by RKO to make the three movies she made.She gives a fine performance both acting and singing. The plot is typical 1930s fare, and I thought it amusing and better than average. I find Pons's characterization very charming.As for Pons being tall and willowy, the lady was a petite 5 feet tall (see IMDb bio), but she sure had a superior voice in that little body. The "pop" tunes she was given to sing in this film were written with an operatic voice in mind, requiring a large range to sing.No other mention has been given to Lucille Ball's very, very funny comedic dance. Her character is sabotaged with a pair of soaped-up dancing shoes, causing her to slip and fall every time she tries to dance. I've watched this over and over and I laugh out loud every time I see it. It takes a very good, well-trained dancer to be able to fall down as much and as well as she did.

Kalaman This is really a wonderful surprise, a charmingly contrived, irresistibly tune-filled operetta, made for RKO in 1936, directed by Leigh Jason. It was intended as a vehicle for its star, Lily Pons, playing the role of a Parisian opera star Nikki Martin that flees her wedding and becomes a stowaway hiding in a ship compartment occupied by an American Jazz band. Nikki meets and falls in love with the band leader Windy McLean (Gene Raymond) and she travels with his band from France to America.Ms. Pons was a superior opera star of its time and "That Girl From Paris" is all hers, though other players, Jackie Oakie, Gene Raymond, Lucille Ball, Mischa Auer, Hermann Bing are all exceptionally good as well. Tall, willowy, coolly complacent (some would say stand-offish), Ms. Pons was no beauty like Jeanette MacDonald or Grace Moore, but she is endowed with an overpoweringly deep, searing opera voice that would put both Jeanette & Grace to shame. As much as the studio is promoting its opera star, RKO is also including as much classical & jazz music as possible and for this, it succeeds.Much of the movie's charm & vivacity seems to run out of gas in the last fifteen minutes or so as the filmmakers try to endow the contrived scenario with a happy, forced ending, but everything before it was a sheer delight.

Tony Mastrogiorgio It does have one scene of note. Pons plays an opera singer hiding out with a jazz band. The band knows nothing of her identity. She sabotages their singer (Lucille Ball in an early role) and is forced to go on stage as a substitute. Well, she only knows opera; the band only knows jazz. She sings "The Blue Danube" with both her and the band segueing from classical singing to jazz and back. It's a really delightful number, very inventive. If the movie is ever on TCM or AMC, it's work a look just for that