The Cat and the Fiddle

Silent screen star Ramon Novarro teams up with Jeanette MacDonald in "The Cat and the Fiddle," a 1934 musical film. The film also stars Jean Hersholt, Frank Morgan, and Vivienne Segal.

The story concerns two songwriters, one from a classical background, Victor Florescu (Novarro, and one assumes from that last name, he's from Roumania), and Shirley Sheridan (MacDonald) a young woman from a popular songwriting background who meet. He falls madly in love with her, even turning down a major opportunity with an impresario (Morgan) who turns out to be more interested in Jeanette as a girlfriend.

Eventually Victor wins over Shirley, and the two move in together. Now, I thought the code came in earlier than this, but it appears I'm wrong. I was very surprised when later in the movie, she suggests that they get married because I thought they already were.

Her song becomes a huge hit. Eventually he succumbs to the impresario's pressure to get him out of the picture by breaking up with Shirley. He is convinced that he is holding her back. Victor then gets a big opportunity when a star (Segal) agrees to appear in his operetta. When he refuses to be seduced by her, her husband gives her a choice, the operetta or him, Mr. Money Bags, and she leaves with her husband. Now he's stuck, and he owes money to boot.

This film ran something like one hour and thirty minutes and seemed longer than Battleship Potemkin. This mainly had to do with the casting of Navarro who could just about carry a tune, and when he did, his voice had a tremelo faster than a butterfly's wings.

Jeanette MacDonald, of course, is luminous - beautiful, charming, and in great voice. Navarro did just not have what it took to be her leading man. As stiff as Nelson Eddy was, there was something about the two of them together that had real chemistry. No such thing here.

This is a movie, as someone said here, for Jeanette MacDonald fans only. She's always worth watching, and someone here also mentioned seeing her do King & I. I'm envious.

Reading the description for this, my expectations were pretty low, due to the silly plot, (and it IS !) but what a fun collection of stars. The Wizard (Frank Morgan), five years before he was the wizard. Jeanette MacDonald, singing. Charles Butterworth is HILARIOUS in this one. Didn't really play a major role, but was there for laughs. He died so young in a questionable car accident. He always looked older in his roles, (make-up ?) but died at 49. Ramon Navarro, who DID make the jump from silents to talkies. A treasure trove of fun stars. The plot... oh that. Navarro is Victor, a composer, trying to get his big break. MacDonald is Shirley, the singer. They get together, but for some reason, can't seem to make it big while they are together. They separate, try to hit it big, and may or may not get back together. Victor is finally putting on his big show, and everything that can go wrong is going wrong. Fun short bit as they scheduled singer seems to be drinking the "mouthwash". The plot is fluff, but totally entertaining, and the "show within a show" is in color. Catch it on Turner Classics!

Between her first film at MGM which was her last with Maurice Chevalier, Merry Widow, and Naughty Marietta which was the debut film of her partnership with Nelson Eddy, Jeanette MacDonald did a film adaption of Jerome Kern's and Otto Harbach's Broadway show The Cat and the Fiddle. She co-starred with Ramon Novarro and while the results were interesting and entertaining there was no demand for more MacDonald/Novarro screen pairings.

The Cat and the Fiddle ran for 365 performances during the 1931-1932 season, something of a miracle for a show to run that long. Most of the score remained intact from the Broadway show. Some big hits for the Kern-Harbach team that came out of that show were She Didn't Say Yes, The Night Was Made for Love, I Like to Watch the Love Parade, and Try to Forget all sung nicely enough by Jeanette and/or Ramon.

While Jeanette's career was on the rise, Ramon was on the downhill slide being propelled like a toboggan by Louis B. Mayer. He was living as openly gay a life as a star could back in the day. Right around this time another gay star William Haines was being given the heave ho by MGM and the Code was on the horizon. Novarro would soon be leaving the USA for Europe and his native Mexico.

The plot concerns two music students in Brussels, American Shirley Sheridan and Victor Florescu presumably Rumanian. Like the usual awkward beginning associated with MacDonald/Eddy movies they are soon at work and in love. However producer/impresario Frank Morgan has designs on Jeanette and Ramon has caught the eye of former diva Vivienne Segal.

This was Vivienne Segal's last film in an otherwise disastrous fling in Hollywood. Making her debut in 1915 she was a leading musical comedy star of Broadway and like a whole lot of Broadway players went to Hollywood when pictures began to talk. She didn't fare well at all in her films and in this last film she's supporting Jeanette. But she sings New Love is Old and Well and being The Cat and the Fiddle is out on at least VHS, it is the only way today's fans can see one of Broadway's leading stars.

Funny how situations can be played for either drama or comedy. A bum check is played for laughs in the Marx Brothers film Room Service. Here in The Cat and the Fiddle the plot calls for Novarro to write a bum check in order to keep his show going for five days after Segal's husband pulls her out of the show. That could have been real serious.

Are you curious as to what happens?

This is a delightful, free-spirited musical gem from MGM. It has the feel of the risque Paramount musicals of the era. Jeanette MacDonald and Ramon Novarro are lovers who co-habitat (not an issue here!) and nurture each other in their respective musical careers. Jerome Kern's score is wonderful -- the kind of tunes that stay with you, "Try to Forget", "The Night Was Made For Love", "She Didn't Say Yes". Great dialogue and comic relief and a few emotional snarls give the film some complexity. The musical numbers are innovative and interestingly filmed -- they compliment the score. The atmosphere in Brussels is highlighted by a variety of characters in the arts community. The film has a musical fluidity. Other than the stilted staging of the 3-strip Technicolor ending, this film deserves more attention.

Two struggling young composers share adjoining pensions in Brussels. A romance ensues, and they soon find themselves sharing more than just the view. When the lady finds success, the gentleman departs, seeking for fame of his own. Fate conspires to keep them apart - can they ever, like THE CAT AND THE FIDDLE, make sweet music together?

Although virtually forgotten today, this musical romance has much to recommend it, including sophisticated performances from its two stars, Ramon Novarro & Jeanette MacDonald. The lavish production values may have been the Studio's way of pumping MacDonald in this, her first MGM film. Both of the stars exude charm & handle the Kern/Hammerstein score quite nicely.

This would be their only film together. MacDonald would soon begin her celebrated collaboration with Nelson Eddy and become one of the Studio's superstars. Not so for Novarro. Although he gives a fine performance here, after only two more (negligible) films, Novarro would be released from his MGM contract. Tastes in male leads had shifted away from the Latin Lover, but also the Studio bosses were doubtless concerned that Novarro's private life might prove a scandal and an embarrassment, a la William Haines. Be that as it may, THE CAT AND THE FIDDLE would prove to be Novarro's last decent starring role.

Some very fine supporting actors appear: Charles Butterworth, as a befuddled benefactor; Jean Hersholt, as a kindly music professor; Henry Armetta, as a furious cab driver; and Frank Morgan, as a comically lecherous impresario. In unbilled roles, movie mavens will recognize Paul Porcasi, as an unfriendly cafe owner; Herman Bing, as the speechless leader of the Fireman's Band; Sterling Hollowly, as a delivery boy; and Christian Rub, as a stage actor.

Best song? `The Night Was Made For Love.' The film segues into eye-pleasing early Technicolor for the final scene.