Brilliant and touching

Best movie ever!

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Mostly, the movie is committed to the value of a good time.

There is no escape from the overt silliness in this stage operetta slapped together by director Jack Conway featuring the magnificent voices of Met opera stars Lawrence Tibbet and Grace Moore. The acting is stiff and the the plot inane but it is easy to forgive when one or both launch into song.Michael Petrov, a Russian officer with a roving eye falls for Princess Strogoff on board The New Moon. She reciprocates but withholds the fact she is engaged to his commanding officer (Adolph Menjou) who sensing the spark between the two sends Petrov off to command a fort on the frontier where the soldiers have a habit of murdering commanding officers. He establishes order by shooting a few malcontents but soon finds the outpost surrounded and grossly outnumbered by the enemy. As tensions mount the princess comes roaring up in a Stutz Bearcat to the front gate to find some closure with Petrov. Like I said, quite silly.Pre-dating the more famous singing sweethearts Nelson Eddy and Jeanette McDonald Tibbet and Moore are their vocal equals and then some. With finer production values, technical improvements, better chemistry and the fact that McDonald was a fine actress, the others just superb singers, everything about New Moon is inferior, but watching the pair sing Wanting You and Lover Come Back to Me is solid gold. It nearly makes up for the ridiculous plot and execution of the film which can be remedied in some way by embracing its unintentional humor.

After New Moon had completed its run of 509 performances on Broadway a year earlier, MGM bought the rights to the film and for reasons known only to Louis B. Mayer and Irving Thalberg scrapped the French colonial New Orleans setting and transferred the story to Tsarist Russia. They realized their mistake and 10 years later filmed it with most of the original story intact with Nelson Eddy and Jeanette MacDonald. It's the version that most know today.The score was also mostly scrapped except for some of the most well known numbers. But what MGM did do was engage two of opera's greatest voices to star in this film, Lawrence Tibbett and Grace Moore.If you were willing to pay some exorbitant ticket prices you could see Tibbett and Moore on the stage of the Metropolitan Opera in any number of productions. Or you could listen to them on the radio and on record where they were some of the biggest classical selling artists of their day. Until Mario Lanza came along, Grace Moore in fact was the biggest classical selling artist.And as I'm a real fan of operetta, hokey plots and all, a film like this is a real treat for the ear. Even Nelson and Jeanette don't sound as good as Larry and Grace singing the Sigmund Romberg-Oscar Hammerstein,II score.The plot is hokey however. Tibbett and Moore meet on a sea voyage, the Caspian Sea where Moore is to marry the provincial governor and Tibbett, an Army lieutenant, to take up a new post. Of course they meet on the ship called The New Moon and fall for each other.When the governor Adolphe Menjou hears of it, he gets Tibbett transferred to the far reaches of the frontier where the savage Turkomen are not real accepting of the Tsar's authority. Menjou's character is Boris Brusilov and he's known in court circles as Bedroom Boris so we know it's his vanity that's hurting not his pride. Still Tibbett insults Moore before taking his leave.But Grace does not like to be scorned. She travels with her uncle Roland Young out to the outpost for the sole purpose of slapping Tibbett with her riding whip. But with the Turkomen closing in, she might pay big time for her little temper tantrum.Of course it's ridiculous, more ridiculous than the original New Moon plot. But the chance to see Tibbett and Moore together is well worth it. Gus Shy even though the plot has changed still plays the same role as sidekick to the hero as he did on the stage version. He's the only one from the original stage production to make it on the screen.Roland Young is as always drolly amusing. He steals every scene he's in. The New Moon is for fans of classical voices and escapist operetta of which there are fewer and fewer unfortunately.

Having deleted much of the music in the stage production, the film makers injected a lengthy battle sequence - presumably to offer something the original could not. This was a regrettable decision for an operetta, as it alters the tone of the film to such an extent that the romance, sweetness and charm of the earlier segments are pushed to the background, and music seems inappropriate for what follows. The editing of this film, particularly in those battle scenes, is heavy-handed; but even the light moments are pockmarked by overly-long pauses, and shots of sets that remain empty for several seconds, until someone walks into the frame.Lawrence Tibbett lacks the commanding presence of a leading man. He and Grace Moore do not make for an electrifying couple. She looks old enough to be his mother (or, more charitably, he looks young enough to be her son). Of course, they sing beautifully and/or vigorously, as required. That's why they're in the picture. But it's not enough. Little or no help from Roland Young and Gus Shy in supposedly humorous supporting roles.

MGM scrapped the ridiculous plot of the 1928 Romberg-Hammerstein stage operetta and replaced it with an even more ridiculous one, with Russian lieutenant Lawrence Tibbett romancing Princess Grace Moore despite her engagement to nobleman Adolphe Menjou. It's the sort of movie where characters say things like, "The one attractive woman on this ship and she would be a princess!" And Moore isn't especially attractive; she's dowdy, looks oddly at the camera, and is got up in some genuinely bizarre MGM fashions. Her character is shrewish, too, so when Menjou dispatches Tibbett to some remote outpost to battle some menacing, vaguely Turkish insurgents, you really feel he's better off without her. An eternally suave and amusing Roland Young defuses some of the operetta silliness; but it's hard not to get the giggles when Tibbett, trying to rouse the troops, barks endless song cues -- "All right, can I have 20 brave men with me? Fifteen? How about 10?" -- before launching into "Stout-Hearted Men." The climactic battle is clumsily shot and unconvincingly run in fast motion, like a Mack Sennett comedy, and it's never really in doubt whether Tibbett will return to Moore in one piece (singing full-voice, of course, whatever his wounds). The ludicrous conventions that killed operetta are omnipresent. But the score's good, and the two opera-trained stars do give enthusiastically of themselves when called on to sing. That's what counts.