User Reviews

I was surprised to see so few reviews of this film so here is another. As with most Paramount films of the early 1930s, everything is top-notch and no sign that they flirted with bankruptcy. The cast is very good with Mary Boland shining above the rest. I am not usually a fan of hers since she so often played shrill and unlikable characters. This time she is great, especially in the way that she wakes up to herself and decides to return to the American Midwest to be a grandmother. Cheers to that! Please notice the remarkable opening scene - that train comes in very fast and stops just right so that Miss Boland has to take only a step or two to board it. Not an easy feat, kudos to the engineer who knew his onions.

The end of World War I in 1918 hastened the demise of the nobility in Eastern Europe. A number of movies were made through the mid-20th century about former aristocrats who lived and worked in Paris and other Western capitals. Some had fled Russia and later Soviet bloc countries. In some countries, castles and mansions became museums or other public properties. Where most family heritages were able to continue, properties were sold off to support a single country estate. And, in some places, the titled families opened their homes at times to tours.

In this film, Count Franz von Degenthal of Vienna has held on to his family's castle until the early 1930s. He now is deeply in debt, and has contemplated suicide. But, he decides to spend his last night at a masquerade ball where he meets and falls for a wealthy American girl. Lela Fischer is traveling with her father on business, and has been pursued by his new partner, Otto Volk. Franz now has renewed interest in living, and he runs into a former servant, his footman Bimpfl. Bimpfl tells him of the successful high-class café nightclub that the count's former butler, Ritter, now owns.

With his new found hope of love, Franz swallows his pride and goes to work for Ritter as a dancer and dinner companion for "lonely" wealthy women at the Café Zassania. When Otto tells Lela and her father that the count is working as a gigolo, she doesn't believe him. So, he takes them there for dinner, where she sees Franz and he stops to chat with her party. Franz bears her snobbish and demeaning comments like the gentleman he is. He had danced and was dining with Jenny Kent. She is a wealthy mid-American widow who has come to Vienna for her first vacation in years since her husband's death. Jenny is naïve about high society and, while she is thrilled to meet a real count, she doesn't know about gigolos.

Jenny tells Franz a little of her background and she asks about his. She would like to see his castle, so he agrees to show it to her the next day. Jenny's fortune is more than $10 million (about $200 million in 2020). But Franz will not take advantage of a woman who doesn't understand his position at the cafe. When Bimpfl presents the check, Franz pays the bill - and gives him a tip. The next day, Franz gives her a tour of his castle. An auction is taking place that day to sell off the property and pay the count's debts. Jenny just can't see his family's heritage ended in such a way. So, she starts bidding on the first item. And who should have come to the auction, but Lela with her father and Otto, to whom she is now engaged. The two women start bidding against each other, with prices going ever higher.

A couple of surprise twists happen after this, in which Franz defends the honor of Lela and Jenny's friendship saves the castle and affirms Franz's true nobility.

This is a very good story - almost fairy-tale like, that most movie buffs should enjoy. Who else but Herbert Marshall could play the dignified yet not arrogant Count Franz? Until this film, I had never seen Sari Maritza who plays Lela Fischer. She came from a British military family background, was born in China and schooled in England, Austria, Germany and Switzerland. Although her performance here is quite good, she made only a dozen films and quit acting early. Mary Boland plays a superb Jenny Kent. Charles Ruggles give his usual excellent supporting performance as Bimpfl, and George Barbier is very good as Jenny's father, Henrich Fischer.

One can't help but notice that the billing for this film is ridiculous. "She wanted love and was willing to pay" nowhere comes through in this movie. I really doubt that the public of the 1930s was so preoccupied, but it sure seems that Hollywood was obsessed about sex. A more honest promo of this film surely would help sell it during the Great Depression. Perhaps, something like, "Comedy leads to love in Old Europe."

Here are some favorite lines in this film.

Count Franz von Degenthal, in the ballroom, "Of course, the easiest way to get across the floor is to dance." Lela Fischer, "I'm afraid it's the only way."

Count Degenthal, "You know, I'm very much afraid I shall have to kiss you." Lela Fischer, "Is there no way of stopping you?" Count Degenthal, "No... that I know of." Lela Fischer, "Well, in that case."

Otto Volk, "I thought titles had been abolished." Henrich Fischer, "Aw, come, come, Otto. You wouldn't want to abolish a nice fellow like this." Count Degenthal, "Be patient, Mr. Volk. We're going as fast as we can."

Bimpfl, "When you have a talent people are willing to pay for, there's no disgrace in selling it."

Ritter, "Count Franz von Degenthal of the imperial court! Dancing in a café of his former butler! Heh, heh, heh, heh. He ought to attract all the unsatisfied ladies of Vienna... of Europe." Bimpfl, "Don't forget America. America is full of unsatisfied females. You're the man for the job, count."