I like the storyline of this show,it attract me so much

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

One of the most extraordinary films you will see this year. Take that as you want.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Notable for starring Grace Moore, being directed by Josef Von Sternberg and having tunes by none other than violin virtuoso and composer Fritz Kreisler, 'The King Steps Out' is still an enchanting and very entertaining film in its own right.Its weak point is the story, which is very slight and occasionally veers on the wrong side of absurd. Herman Bing's role is also a little over-exposed, and while Fritz Kreisler's songs are lovely, lushly orchestrated and full of energy and pathos the only ones that really have unforgettable staying power are "Stars in My Eyes" and "What Shall Remain" (there's absolutely nothing wrong with them, they just don't have the wow factor).'The King Steps Out' is a gorgeous-looking film though, with sumptuous period detail and photography that really shimmers. The script is heart-warming, light-footed and smart, with Walter Connolly and especially Herman Bing (did mention about him being over-exposed but still loved the performance) providing some scene-stealing moments, Bing especially delighting by facial expressions, use of voice and body language.Sternberg directs more than competently, personally didn't think any lack of trust in the material came through, and the energy and enchanting charm 'The King Steps Out' exudes in every frame makes it such an easy film to like. Moore proves to be a graceful leading lady, beautiful in voice and a deft comedienne, while Franchet Tone is elegantly charming. Their chemistry is sweet and wholly natural.All in all, slight but enchanting. Moore may be the main attraction, but she is certainly not the only reason to see this. 7/10 Bethany Cox

A really unique opportunity to watch a Sternberg musical comedy: the style is very much in the Lubitsch mold (the two directors were basically rivals on the Paramount lot, though this was actually made at Columbia) – but the former shows little interest in the plot complications and innuendos which are more or less mandated by this type of sophisticated light fare! Leading man Franchot Tone was not the obvious choice for the genre either, yet he acquits himself quite well under the circumstances. Incidentally, this is one of 3 films I own – but actually the first I have watched – that were designed as vehicles for operetta star Grace Moore (her billing preceded here with the epithet "Miss"); while she handles the romantic comedy angle adequately enough, ironically, the numerous songs she is made to deliver prove utterly forgettable (and the sound bafflingly fades in and out during each one of them)! Anyway, the plot involves a royal marriage within the same family(!), except that the girl concerned (who has never met her husband-to-be) is in love with someone else (who happens to be the adjutant of her intended, atypically played by Victor Jory)! The heroine is one of her sisters who decides to take action to thwart their domineering mother's plans – little did she know, however, that she would fall for the Emperor herself (before whom she appears as a commoner!) and that he repays the sentiment (interestingly, she is both berated by her sister for wanting to usurp the title and, before her identity is properly established, imprisoned for compromising the nuptials!). Other interested parties are Moore's father Walter Connolly (who similarly does not flaunt his rank and is also very fond of beer), typically befuddled Colonel Raymond Walburn, Major Thurston Hall (given to exaggerated facial expressions), Chief Of The Secret Police Johnny Arthur (his face was vaguely familiar until I realized he had been the hero of the Roland West/Lon Chaney 'old dark house' spoof THE MONSTER [1925]!) and, most hilariously, flustered hotelier Herman Bing (especially by way of his vocal inflection and the assorted guttural sounds he emanates).In the end, even if the director's uneasiness with the material is palpable throughout (reportedly, he even asked for it not to be included in retrospectives of his work!), this is good-looking (one expects no less from a Sternberg picture, and the Ruritanian setting is certainly congenial to his pictorial sense) and surprisingly enjoyable. For the record, the copy I viewed was culled from an old TV broadcast complete with stops for publicity spots!

This one is tough to honestly evaluate. On the one hand you have Grace Moore and her wonderful voice, able and adequate supporting roles, notably by the always reliable and graceful Frieda Inescort, Franchot Tone and Walter Connoly, and of course Sternberg's direction. For me at least that's reason enough to watch any movie, even this one which in some ways is an utter disaster. On the other there's just too much silliness, foolishness and Herman Bing. He can be aggravating enough even in small doses but he does way too much of that trademark tongue rolling and quaking of his for my taste.And then there's the ages of the real Sisi (Moore's character, Elisabeth of Bavaria) and Franz Josef (Tone's character). When Sisi married Franz Josef she was 16 and he 24, not 40 and 30, the ages of Moore and Tone respectively. Even given the generous poetic license the producers took with the real story which is nothing if not tragic, there's only one way to look at this movie. It is nothing more than a vehicle for Grace Moore. And maybe that's reason enough to watch it.

I am reminded of the cry of my toddler nephew when witnessing a minor mishap, a plaintive beatific "oh no!", often with his little finger raised aloft; I am reminded of this when examining this film's reputation on the IMDb, and sadly, it appears to have been seen by few people. This is not typical von Sternberg heroin, and I can only think that the few people who have seen it here were expecting such. The soul of the film is much more to do with Ernst Lubitsch. I think it does very well on that level, it's a saucy comedy. One thing that is typical of von Sternberg however, is that the movie has dream absurdity. The clan of Habsburg blue-bloods on display here have more in common with the Munsters than with any sort of historical reality.The film is mostly a farce. The Empress Mother of the Austro-Hungarian Empire decides to marry her son Emperor Franz Josef (played with elegance by Franchot Tone) off to a relative, the princess Helena, who is a pretty little drip, seemingly permanently anaesthetised. Her sister Sissi wishes to save her from this fate and henpecks her curmudgeonly father Maximilian, Duke of Bavaria, out of the door to intercede on Helena's behalf to stop the arranged marriage.You would not guess given the absurdly low rating of this film that it a bona fide rib-tickler. Uncredited Raymond Brown as the innkeeper of The Golden Ox is simply hilarious. Just watch him try to catch his own whistle. One thing that I like to see in a comedy is misplaced hysteria, the innkeeper's hilarious rasping, lisping, and stuttering, when he gets out of control and confused are a glory, similarly the chief of the secret police, who really appears to be afraid of his own shadow, will have you rolling on the floor as he flinches and twitches.Sissi and Franz Josef's lovemaking is the backbone of the movie and is amusing and constantly carefree, and even raunchy (given the times).I enjoyed seeing the corps de ballet in this film, practising in a hall, Sternberg's play of light and dark attempting to give Degas a run for his money in terms of ballet studies. There seemed almost no reason for the scene, but I'm not complaining.This is not one of the great movies, but it is something I specifically chose as Christmas fare par excellence, and I chose well.