Jeanette MacDonald’s independent-minded countess leaves her foppish prince fiancé at the altar, and whisks herself away to the Riviera. Lubitsch’s follow-up to The Love Parade shows even more musical invention, and presents MacDonald at her sexily haughty best
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The rapiest of all musicals, and an uncomfortable sign that with the wrong casting, a purportedly dashing, classy, and irresistible male lead in a musical can come off as a total creep. Pros: I like the way it plays with fiction near the end. Nice touch.