VeteranLight I don't have all the words right now but this film is a work of art.

Spoonatects Am i the only one who thinks........Average?

ActuallyGlimmer The best films of this genre always show a path and provide a takeaway for being a better person.

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

MartinHafer This is Ernst Lubitsch's first sound film and technically speaking, it's amazing. While the sound technology of the time was VERY primitive, Lubitsch was able to make the first really modern looking musical--with natural movements and a story that is NOT just another Gold Diggers sort of extravaganza (quite the rage at the time). Reading through the trivia on IMDb, I saw that it was the first or among the first musicals to be filmed this way--and that this was done by ignoring the speakers and re-dubbing the film after it was completed! All I know is that compared to other musicals of the day, it stands up very, very well---even if the singing of Jeanette MacDonald (in her first film) is a bit dated stylistically."The Love Parade" starts out with a wonderfully clever scene that illustrates what a cool and confident lover Maurice Chevalier plays in this film. I could say more about it, but really think you need to see it. Chevalier's antics in Paris cause some problems with officials from his home country, Sylvania, and he is ordered back home to answer for his sexual shenanigans. However, instead of being punished, he meets the Queen (MacDonald) and the two soon fall in love--complete with LOTS of singing.Considering how pretty and sweet MacDonald is, you'd think that Chevalier would be ecstatic when they marry. Well, that is NOT the case at all as he has nothing to do and no power. In essence, he's like a royal trophy husband. And, to make matters worse, MacDonald does just about everything she can to keep him emasculated. So, it's not at all a surprise when he walks. Can their love be rekindled or are they destined for separate lives? I will freely admit that this is not a perfect film or even close to it if you compare it to modern films---or even musicals from just a few years later. However, for 1929, it's just about perfect--exceptional in every way. So, if you can understand and appreciate the groundbreaking nature of the film, you'll no doubt enjoy it. Though, you will wonder why the Queen and her Consort have such amazingly different accents considering they both are Sylvanians! I noticed that Lupino Lane played Chevalier's funny butler. He did a great job in the film and it's one of the small number of sound films in which he appeared. Believe it or not, he was a prolific silent comedian--and a very funny one. You get a hint of this in the VERY physical song he and the maid perform at 65 minutes into the movie. I have seen him in a few of his silent films and can recommend you see one if you get the chance. In addition, silent comic Ben Turpin also makes a short cameo appearance.

abweber "Anything for the Queen" will be my new motto around the household, specifically for my bf. It is good to see that you can learn something from 82+ years ago for the first time.I've always been a fan of 30's musicals so it was a treat to see this movie for the first time of my life as a historical piece, but also to see the development of musical movies from the start. I am blessed to live within 30 miles of the Stanford Theater in Palo Alto, CA that offers amazing film histories, museum and revivals every week of the year.I can now see why Chevalier was such a hit -- he had natural wit, humor and timing, something I never witnessed in later films (such as Gigi) where his talents were mostly condensed down to singing.Jeanette McDonald's operatic singing was extraordinary, but does feel "dated" in the film in contrast to the impeccable performances, timing, dance and humor-filled vaudevillian routines of Lupino Lane and Lillian Roth. IMO they stole the show (sort of like a 'Jack & Karen' team did from "Will & Grace").I would see the movie again just to check out the servant scenes and a well-deserved nod to the animal trainer for the dog performances. The entire cinema was laughing at the opening goodbye to Paris scene.

Cyke 100: The Love Parade (1929) - released 11/19/1929, viewed 6/10/08.DOUG: I always said that as soon as they released an Ernst Lubitsch box set, I would check it out. As Lubitsch's first sound film, 'The Love Parade' would have closed out the 20's for us. This is my 5th Lubitsch film, and he has yet to disappoint me. Right from the start, Lubitsch has an excellent handle on how to utilize sound, dialogue, and music, but still gets plenty of mileage out of dialogue-free business, such as the opening scene. The two leads spark nearly as much chemistry as they would later in 'Love Me Tonight': Chevalier (in his second sound film) is charming as ever, and Jeanette McDonald (in her first film) is supremely sexy (really!), showing a lot more skin in several scenes than the Hays Code would have likely allowed. I thought the second half of the film lagged quite a bit; once the two are married, it's just a series of scenes of Alfred becoming miserable with his new life, suffering under the soul-crushing set-up of "many duties and no rights." Lupino Lane and Lillian Roth add a lot of cuteness, spunk, and verve to the proceedings as Alfred and Louise's respective sidekicks/hired help; their performance of "Let's Be Common" was my favorite musical number of the piece. Judging by his footwork, I'm guessing Lane came off of vaudeville. Although I enjoyed this movie less than the other four Lubitsch comedies I've seen, I still recommend it.KEVIN: Going back to 1929 we have this royal battle of the sexes, Lubitsch-style! Though not an essential, this movie was definitely worth checking out. The always reliable Maurice Chevalier (in his second sound film), and the lovely singer Jeanette MacDonald (in her first film) star in The Love Parade, Ernst Lubitsch's teasing romantic musical. When a suave ambassador (Chevalier) gets in one too many scandals in his beloved Paris, he returns home to his native Silvania, where he catches the eye of the man-starved queen (MacDonald). But when they wed, he becomes not a king but the "queen-consort," a position with many mundane duties but no responsibilities or power of any kind. That and his lovely new wife is more focused on her queenly duties. Naturally, he finds his new life more than a little unsatisfying. I found the struggle of Chevalier's character to be fresh and appealing, portraying a man who refuses to remain a trophy husband. There were several scenes where it felt as though the gender roles had been reversed, though the scene in the opera house where Chevalier basically taunts MacDonald into submission worried me some. But overall, the irresistible team of Chevalier & Lubitsch definitely met my expectations. The dialogue-free opening scene was a stitch. MacDonald manages to strike the right balance of lovelorn maiden and blue-blooded royal. Lupino Lane and Lillian Roth (who would appear the following year in Animal Crackers) make a great team and provide some fantastic sidekick laughs (and some of the more inventive dance numbers).Last film viewed: Wings (1927). Last film chronologically: The Cocoanuts (1929). Next film viewed: The Divorcée (1930). Next film chronologically: Anna Christie (1930).

theowinthrop It was really the film that established Maurice Chevalier and Jeanette MacDonald as a musical comedy team - the first one of the American talkie period. They would make four films in the end (THE LOVE PARADE, ONE HOUR WITH YOU, LOVE ME TONIGHT, and THE MERRY WIDOW). Four first rate early musicals... and they did not like each other! Jeanette rebuffed Chevalier's attempts at a closer relationship (she only liked Gene Raymond, whom she later married). He considered her a prude and hypocrite as a result. So, despite their stunning screen chemistry and string of successes their partnership faded. Nelson Eddy was waiting in the wings for her to find the proper partner.Chevalier is a Count who has been returned from a diplomatic post for a sexual scandal. The country is ruled by Queen Jeanette, and when she meets the charming Maurice she falls for him. They marry, but he finds that (under the guidance of her Prime Minister - Lionel Belmore - and his cabinet) she puts him aside on matters of ruling the state. Chevalier, normally the aggressor in sexual matters and in putting his own ideas out, does not like the self-image of being the boy-toy husband of the ruler of his native country. His idea would be more like that of Prince Albert, Queen Victoria's husband, who became her chief adviser on political matters after their marriage. Here, however, while everyone is polite to him, they make it clear that constitutionally he is not to be involved in running the government.The film is a charming one - full of those "Lubitsch touches". For example, Chevalier's growing anger and impatience at his political uselessness is first shown when he asks one of the courtiers (who has just politely put him in his place), "Do you understand French?" "No, I'm afraid I don't.", says the courtier. Chevalier, with perfect timing, shoots out a long, furious diatribe of French, which one can tell is gutter language, to show his fury at his position - much to the dismay of the courtier. Later on, when the Prime Minister also puts down Chevalier's attempts at advice, he smiles and asks the Prime Minister, "Excuse me, but do you speak French?" Belmore looks at him puzzled, "Yes I do speak French." With an eat dirt smile, Chevalier says, "What a pity!" In the end, it is a financial crisis (which with typical Lubitsch humor can only depend on the foreign investors in Sylvanian securities, all of whom have to observe the reactions of the Afghan Ambassador - bearded Russ Powell - to a court function) that gives Chevalier his chance. Chevalier will only show his true love for his wife if she and the cabinet give him a voice in public affairs like Prince Albert had. And they give in.It would not be the last visit Hollywood paid to Sylvania. Unlike other Balkan pseudo-states, it actually reappeared four years later, though under more "sinister" circumstances. In 1933 the Sylvanian Ambassador to a neighboring country tried to use underhanded means to bring about it's annexation by his homeland. However, Ambassador Trentino (Louis Calhern) did not count upon the Dictator of Freedonia (Rufus T. Firefly - Groucho Marx) and his three brothers to force him to surrender in a barrage of vegetables and fruit in DUCK SOUP.