Monte Carlo

Plot

Countess Helene Mara, a spirited but penniless aristocrat, flees her wedding to the foppish Duke Otto von Liebenheim at the last second, boarding a train for the glamorous casinos of Monte Carlo. Upon arrival, she checks into a lavish hotel she cannot afford, hoping to win a fortune at the roulette table to maintain her independence. Her beauty catches the eye of Count Rudolph Farriere, a wealthy nobleman who is immediately smitten; however, Helene rebuffs his formal advances. To get close to her, Rudolph masquerades as a humble hairdresser, eventually becoming her personal servant and confidant as she loses her remaining funds. The ruse reaches a climax during a performance of the opera 'Monsieur Beaucaire,' where the parallels between the stage plot and their own lives force a romantic revelation and a final escape from her persistent former fiancé.

Historical Background

Released in 1930, 'Monte Carlo' arrived during the 'Pre-Code' era of Hollywood, a brief window before the strict enforcement of the Hays Code in 1934. This allowed the film to feature suggestive dialogue, innuendo, and a more liberated portrayal of female desire and class mobility. Historically, it also marks the transition period where Hollywood was moving away from 'all-talking, all-singing' spectacles toward more integrated musical narratives. The film's escapist luxury provided a sharp contrast to the reality of the Great Depression, which was beginning to take a firm grip on the American public.

Making Of

During production, Ernst Lubitsch was obsessed with overcoming the technical limitations of early sound recording. He insisted on filming the 'Beyond the Blue Horizon' sequence with a moving camera, which required the sound of the train to be meticulously dubbed in post-production to match the music's rhythm. Jack Buchanan, while a talented performer, reportedly found the transition to Hollywood's rigorous filming schedule challenging compared to his stage background. The chemistry between MacDonald and Buchanan was often compared to her partnership with Chevalier, with critics noting Buchanan's more reserved, 'gentlemanly' approach to the role. Lubitsch personally oversaw every detail of the set design to ensure the 'Monte Carlo' atmosphere felt authentically European despite being filmed primarily on a Hollywood backlot.

Visual Style

Shot by Victor Milner, the film is visually distinguished by its fluid camera movements and high-key lighting that emphasizes the opulence of the Riviera. Milner and Lubitsch worked together to 'free' the camera from the soundproof booths that typically immobilized it in 1929-1930, using innovative tracking shots during the train and casino sequences.

Innovations

The film is technically significant for its early use of post-synchronization (dubbing) and its rhythmic editing. Lubitsch's ability to sync the visual motion of a train with a musical score was a landmark achievement in 1930, proving that sound films could be as visually dynamic as silent ones.

Music

The score was composed by Richard A. Whiting and W. Franke Harling, with lyrics by Leo Robin. Key tracks include 'Beyond the Blue Horizon,' 'Give Me a Moment, Please' (sung over a telephone), 'Always in All Ways,' and 'She'll Love Me and Like It.' The music is noted for being 'integrated,' meaning the songs advance the plot or reveal character rather than serving as mere interludes.

Memorable Scenes

• The 'Beyond the Blue Horizon' sequence where Jeanette MacDonald sings from a moving train while farmers in the fields join in the chorus.
• The opening scene showing the aftermath of the jilted wedding, with a deflated wedding dress and a row of umbrellas.
• The telephone duet 'Give Me a Moment, Please' where the two leads sing to each other from different locations.
• The finale at the opera house where the characters' real-life drama plays out in the boxes while a mirror version of their story occurs on stage.

What Critics Said

At the time of its release, 'Monte Carlo' was hailed as a masterpiece of the new musical genre, with Mordaunt Hall of The New York Times praising Lubitsch's 'extraordinary ingenuity.' Modern critics continue to admire the film for its technical bravado and charm, though some note that Jack Buchanan lacks the magnetic screen presence of Maurice Chevalier. It is frequently included in retrospectives of early sound cinema for its fluid camera work and sophisticated screenplay.

What Audiences Thought

Audiences in 1930 embraced the film's glamour and catchy soundtrack, making it a solid commercial success for Paramount. Jeanette MacDonald's performance, in particular, solidified her fan base. While it didn't reach the iconic status of 'The Love Parade,' it remained a popular title in the early 1930s musical cycle.

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