When Criterion released its Lubitsch Musicals set a few years ago, I watched and really loved the other three films, and meant to get around to a second viewing of The Love Parade. I failed to do that until now. Well, it's awesome. The best of those four films, and that's saying a Hell of a lot. This rivals my favorite Lubitsch film, Trouble in Paradise. He was one director who really understood right away how to use sound. This was his first talkie, and most consider it the first musical where the songs drive the plot, instead of the classic revue/Broadway show type of musical like The Broadway Melody or The Hollywood Revue of 1929, both of which were so impressive to people at the time that they were nominated for Best Picture (with The Broadway Melody winning, of course). The Love Parade was also nominated, but not until the next year, since it didn't get a Los Angeles release until January of 1930 (and it lost, of course, to All Quiet on the Western Front). Maurice Chevalier plays a philandering count who gets kicked out of Paris. He retreats to his homeland of Sylvania, whose queen (Jeanette MacDonald, in her film debut) is being pressured to marry by her cabinet (it will look good and perhaps convince other countries to give them loans). Chevalier isn't the marrying kind, but the queen is all kinds of beautiful, so he relents. Unfortunately, his new position holds no power whatsoever - he's a mere figurehead - and it upsets his male pride. This is an absolutely charming film. Chevalier and MacDonald are both hilarious, as are all the other characters (their servants, played by Lupino Lane and Lillian Roth, who have a romance of their own, are particularly wonderful), the European royalty settings are gorgeous to look at and the songs are great. The only minor problem is that occasionally, given the primitive recording techniques, some of the dialogue and songs can be difficult to understand. Still, a masterpiece.

"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.

This is very much like a Vienese operetta, with its principle couple - Chevalier and MacDonald - and its second couple, the help, who mirror the principle couple in a light way. The music often sounds like minor Johann Strauss or early Lehar, and the plot owes a lot to The Merry Widow.Still, my favorite aspect of this movie is that, being pre-code, it constantly flirts with the edge of what could be dared in those days. It's never in any way obscene or vulgar, but it's constantly winking at the audience about matters sexual, and of course the last shot is of the couple in bed - one bed. Hollywood wouldn't enjoy that freedom for another 30 years.It's all very light and, in the end, not very memorable, but along with One Hour with You, which I probably prefer, a very enjoyable way to spend an evening.

Count Alfred (Maurice Chevalier) has disgraced his home country of Sylvania with one too many scandalous affairs with married women, and the ambassador of Sylvania commands him to return home. Alfred's manservant, Jacques (Lupino Lane), begs to come along, and his master relents. Alfred, burdened with a newly acquired French accent that makes him sound most un-Sylvanian, fears the wrath of his queen (Jeanette MacDonald). But instead of having him shot, she falls in love with him, and he with her. The entire kingdom, which has had nothing on its mind except seeing the queen get married, is thrilled. As Jacques and Lulu the maid (Lillian Roth) conduct their own romance, reveling in their commonness, Alfred discovers at the altar that his own marriage will be most uncommon - and a dire threat to his manhood. He may be marrying a queen, but he most definitely won't be a king.Ernst Lubitsch directed this marvelous technical and artistic achievement back when other early sound films were still stumbling along. Four outstanding performances from four witty and charming performers (Chevalier, MacDonald, Lane and Roth) grace this lavishly produced musical comedy with its champagne-bubble songs and sexually-charged dialogue.