It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 600. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
Paris in Spring (1935) – Musical #769

Studio:
Paramount Pictures

Director:
Lewis Milestone

Starring:
Mary Ellis, Tullio Carminati, Ida Lupino, Lynne Overman, James Blakeley, Jessie Ralph, Dorothea Wolbert, Akim Tamiroff, Craig Reynolds, Joseph North, Jack Raymond, Jack Mulhall, Harold Entwistle, Sam Ash, Arnold Korff, Francis Ford (uncredited)

Plot:
Paul (Carminati) and Mignon (Lupino) both meet atop the Eiffel Tower, both in despair over love. Paul’s marriage proposal to nightclub singer Simone (Ellis) was turned down, and 17-year-old Mignon left her cousin Albert (Blakeley) at the alter when he didn’t think she was mature enough. Though Paul and Mignon originally considered jumping off the Eiffel Tower, instead they hatch a plan to make Simone and Albert jealous. In search of Mignon, Albert meets Simone, and then the two of them join forces to make Mignon and Paul jealous.

Trivia:
• Based on the play “Two on a Tower” by Dwight Taylor.
• Third film of Mary Ellis

Highlights:
• The title sequence with women walking and carrying hat boxes through a Parisian park. The credits then appear on the hat box.
• The “Paris in the Spring” musical number.

Notable Songs:
• “Paris in the Spring” performed by Mary Ellis
• “Jealousy” performed by Mary Ellis
• “Bonjour et Bonsoir” performed by Mary Ellis and Tullio Carminati

My review:
I have to admit, this is a kooky film.

The film begins with Paul (Carminati) and Mignon (Lupino) both separately planning to commit suicide over love. Paul’s Simone (Ellis) won’t marry him because she thinks marriage will ruin their romance. Mignon left her husband-to-be (and cousin?!) Albert (Berkeley) at the alter because he told her she wasn’t worldly enough — which is hilarious because when you see Albert, he’s a bit of a loser.

This plotline sounds grim, but is played comedically like a joke with lighthearted music. It’s a rather strange comedic plotline in my behavior (though it is used in other films like THE ODD COUPLE, etc).

Once Paul and Mignon meet, instead they decide to partner to make Simone and Albert jealous. And once Simone and Albert meet, they hatch a similar plan. Confusion and songs follows—including Mignon and Albert’s grandmother (Jessie Ralph) thinking they are truly married to their new lovers.

Some aspects of this film are odd, others are lavish and fun. The musical numbers performed by Mary Ellis are elaborate and lengthy, particularly the title song, “Paris in the Spring.” Ellis was a Metropolitan Opera singer, starting in 1918, and after performing on stage, she started in films in 1934. Though her film career didn’t go the way of Jeanette MacDonald, it’s clear that was Paramount’s goal for her in films like this. However, Ellis’s career didn’t end here, she continued acting on the stge and making television appearances until the 1990s. Ellis performs nearly all the musical numbers in this film.

Whose career did later take off is Ida Lupino. While many know her best for her hardened film noir roles later on, here Lupino plays a sweet, blonde and naïve ingénue. This early role for Lupino is much different than what audiences would later he see her in.

The male leads of the film, Tullio Carminati and James Blakeley, were actors I wasn’t familiar with but I also, unfortunately, wasn’t terribly impressed with. It was a delight to see young Akim Tamiroff in this film, though!

Even the 1935 New York Times review said the stand out performances came from Jessie Ralph, Lynne Overman and Tamiroff. I think they are right.

Regardless if I found this film kooky or wonderful, it’s frustrating that it’s not a terribly easy to find film, like many Paramount Pictures-produced films seem to be. I purchased a homemade DVD in order to watch this. What’s interesting, is by the set design and elaborate musical numbers, you could tell this wasn’t some B-movie produced by Paramount. Some budget was put behind it, which to me, makes it even more bittersweet that it’s hard to find.

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet, follow on Instagram or e-mail at cometoverhollywood@gmail.com