Just what I expected

It's entirely possible that sending the audience out feeling lousy was intentional

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

A four star delight starring Maurice Chevalier, Jeanette MacDonald, Charlie Ruggles, Charles Butterworth, Myrna Loy, and C. Aubrey Smith. Added to the National Film Registry in 1990. "Isn't It Romantic" is #73 on AFI's 100 Top Movie Songs of All Time.Chevalier is a tailor owed money by aristocrat Ruggles, so he follows Ruggles' order of 15 suits to his château. There, the princess (MacDonald) is being courted by an uninspiring Count (Butterworth), put up to it by the Duke (Smith), who is hoping to find an adequate husband for her. The Duke keeps reign on the others because he controls the money, which he won't give to Ruggles or the Countess (Loy). When Chevalier shows up, he charms everyone and is pursued openly by Loy. Of course, there are opportunities for him to sing, and (double) of course, he will win the princess in the end.Though the film "feels" like one of Chevalier's pairings with director Ernst Lubitsch, this one was directed by Rouben Mamoulian.

This acclaimed musical falls far short, in my estimation, of several other contemporary films in the same genre starring Maurice Chevalier and/or Jeanette MacDonald, such as 'The Smiling Lieutenant', 'Naughty Marietta' and 'The Love Parade'. I found it narratively disjointed and lacking in artistic unity; the action proceeds in fit and starts, and at times the director, Rouben Mamoulian, seems unsure how to construct or energise scenes. Lacking the comic touch of a Lubitsch, he employs many styles of comic staging, which don't always knit together. Finally, while there is a great deal of rhyming dialogue in the film, it has comparatively few big musical numbers. 'Isn't It Romantic' is probably the only genuine hit. This review may sound too negative, but with so much hype around the film, its shortcomings need to be discussed. On the plus side, it is a lavish production, and the film's stars are great talents. (Myrna Loy is a terrific foil to the main love interest, but her part is sadly underdeveloped in the script.) The opening sound sequence, incorporating actual shots of a nearly deserted, early-morning Paris, is a sparkling introduction. Alas, it is probably the best thing in the movie. Some of the dissolve and dual-image photography also delivers memorable images, that suggest a forward-looking creative spirit. At other times, in film-making terms, the production seems old fashioned and tired even for its day (1932).

I have watched this movie in part several times, but caught it tonight on TCM or from my DVR of a recent showing. It is a special one, and was interested in checking out these magnificent sets created for it. They were wonderful.Liked Chevalier in this particularly. I agree with the reviewer who finds Jeannette McDonald's singing a bit of a trial. I don't care for most opera type singing. Get ready for some corn here: Was reminded of something Andy Griffith said about opera singing (from a comic recording), "Some people say opera is just hollerin', and it is; but it's high class hollerin'." It comes across that way to me. That quote may offend the cinematic detail oriented enthusiasts of this film - sorry. However, I have enjoyed a few old operettas, thinking of "Sweet Kitty Bellairs" from 1930 featuring Claudia Dell and Walter Pidgeon. Ms. Dell was easier on the ears than Ms. McDonald. Pidgeon's singing was pleasing, and I found the piece entertaining. In watching C. Aubrey Smith in this, I thought for the umpteenth time whether he was born an old man. He is always ancient in every movie I have ever seen with him. Actually, his Hollywood films were done in his elderly years. Finally looked him up and found he was born in 1863. Wow. He did London stage, Broadway and came to Hollywood much later. He died in California at age 85.This is a good film and has interest for its genre. It is probably my favorite Chevalier. It was odd seeing Charles Ruggles in this. They were talking about Myrna Loy during the intro to the movie, saying this film may have begun her being used in something other than the Oriental evil women or vamp types. Only a few people were making the decisions on casting back then in the studio system, and thankfully, they finally broke her out of that old mold and began to find out how engaging she was as a wife and later as a comedienne.Good film.

This film is so good that even Jeannette MacDonald can't spoil it and that's saying something. Usually I can take or leave Chevalier, mostly leave, but here he is at least bearable. Busby Berkley gets a lot of credit for staging musicals but Rouben Mamoulian, who got there first, is no slouch if anybody asks you. The film begins BRILLIANTLY with a first a completely Silent track then slowly, imperceptibly, as Paris wakes up sounds begin to insinuate themselves in Rhythm. Soon Chevalier enters the scene and both walks through and contributes to the sound and in under five minutes he is established as a tailor and one who has been stiffed by a viscount (Charlie Ruggles) thus kick-starting a plot which sees Chevalier journey to Ruggles' château. The transition is handled equally brilliantly as Chevalier, in his shop, begins to sing Isn't It Romantic, which is taken up by a delivery man and various pedestrians until it arrives at the train which will whisk Chevalier to the château and a meet-cute with MacDonald. It's a great cast, Myrna Loy, Elizabeth Patterson, C. Aubrey Smith, Charlie Ruggles, Charles Butterworth. Oh, I nearly forget. There's also a gem of a score by Rodgers and Hart. A true classic.