Parade d'amour

Titre original : The Love Parade

1929
Passed
1h 47min

NOTE IMDb

MA NOTE

Maurice Chevalier and Jeanette MacDonald in Parade d'amour (1929)

Romantic Comedy Slapstick Comedy Musical Romance

Ajouter une intrigue dans votre langueThe queen of mythical Sylvania marries a courtier, who finds his new life unsatisfying.The queen of mythical Sylvania marries a courtier, who finds his new life unsatisfying.The queen of mythical Sylvania marries a courtier, who finds his new life unsatisfying.

Voir les informations de production sur IMDbPro

NOTE IMDb

7,0/10

2,7 k

MA NOTE

Voir les informations de production sur IMDbPro

Nommé pour 6 Oscars
- 4 victoires et 6 nominations au total

Anecdotes
Considered by many to be the first musical film in which the songs were integrated with the story.

Gaffes
The fact that Count Alfred (Maurice Chevalier) speaks with a French accent, even though he is not supposed to be French, is really not an "error". However, by adding a scene to attempt to explain this anomaly, it only serves to highlight the accent discrepancies in the casting. For instance, in contrast to the accent discrepancy with Chevalier's character, no one seems to notice that his French servant, Jacques (Lupino Lane), speaks British English with no discernible French accent.

Citations
Queen Louise: Why am I always awakened from my dreams?

Versions alternatives
There is an Italian edition of this film on DVD, distributed by DNA Srl: "IL PRINCIPE CONSORTE (1929) + AMAMI STANOTTE (1932)" (2 Films on a single DVD), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.

Connexions
Featured in The Love Goddesses (1965)

Bandes originales
Ooh, La La
(1929) (uncredited)
Music by Victor Schertzinger
Lyrics by Clifford Grey
Sung by Lupino Lane

Avis des utilisateurs37

Commentaire à la une

7/10

Pre-code comedy

This is very much like a Vienese operetta, with its principle couple - Chevalier and MacDonald - and its second couple, the help, who mirror the principle couple in a light way. The music often sounds like minor Johann Strauss or early Lehar, and the plot owes a lot to The Merry Widow.

Still, my favorite aspect of this movie is that, being pre-code, it constantly flirts with the edge of what could be dared in those days. It's never in any way obscene or vulgar, but it's constantly winking at the audience about matters sexual, and of course the last shot is of the couple in bed - one bed. Hollywood wouldn't enjoy that freedom for another 30 years.

It's all very light and, in the end, not very memorable, but along with One Hour with You, which I probably prefer, a very enjoyable way to spend an evening.