When most silent stars feared the talkies, Marion Davies jumped in with this saucy musical comedy, playing a WW I French girl wooed by 3 American doughboys (Lawrence Gray, Cliff Edwards, and Benny Rubin). Good songs, including title tune and 'Just You, Just Me," as well as Edwards' solo (I forget the title) keep this early talkie moving nicely. Davies was a consummate comedienne and proves it in her starring talkie debut, doing impressions of Maurice Chevalier and Sarah Bernhardt as well as singing and dancing. Edward and Rubin are good comic foils, and Gray is a handsome leading man. Solid MGM talkie with good production values and sound. Davies and Gray had starred together in the silent film, "The Patsy." And I SILL say that Davies ranks with Lombard, Loy, and Arthur as the 30s best comediennes.
19 Reviews
Not The Girl From Neucháteau
Ron Oliver17 June 2005
French farm girl MARIANNE has constant difficulties with the American soldiers stationed in her barn after the Armistice.
This film was the starring talkie debut for Marion Davies, one of the most charming and talented actresses of her day. As the mistress of William Randolph Hearst, one of America's most powerful men, Davies probably could have had her pick of roles. In some respects, MARIANNE is an odd choice. There is virtually no action, most of the scenes take place in a kitchen and a barn, and Davies speaks her entire dialogue, often in French, with a very thick accent. But she is so lively and full of joie de vivre, so infectiously good-natured even when angry, even mimicking Chevalier & Bernhardt, and impersonating a young male officer, that she becomes the main reason for watching the film today. It is indeed unfortunate that Marion Davies' gifts have become obscured and her films nearly forgotten.
Lawrence Gray, who had shown much skill as a comic actor during Silent days and had worked with Davies then, here plays the American doughboy who falls for Marion. The funny business is handled by two of MGM's newest acquisitions, Yiddish dialect comedian Benny Rubin and ukulele-playing Cliff Edwards. Marion's noble French boyfriend is enacted by George Baxter.
As with many other early sound films, the movie suffers with too much talk. However, the recurring musical sequences are mostly quite welcome. The opening scene, with its idyllic look at Marion's village, shows the quality of art direction for which MGM was famous.
And pity the poor pig Anatole!
This film was the starring talkie debut for Marion Davies, one of the most charming and talented actresses of her day. As the mistress of William Randolph Hearst, one of America's most powerful men, Davies probably could have had her pick of roles. In some respects, MARIANNE is an odd choice. There is virtually no action, most of the scenes take place in a kitchen and a barn, and Davies speaks her entire dialogue, often in French, with a very thick accent. But she is so lively and full of joie de vivre, so infectiously good-natured even when angry, even mimicking Chevalier & Bernhardt, and impersonating a young male officer, that she becomes the main reason for watching the film today. It is indeed unfortunate that Marion Davies' gifts have become obscured and her films nearly forgotten.
Lawrence Gray, who had shown much skill as a comic actor during Silent days and had worked with Davies then, here plays the American doughboy who falls for Marion. The funny business is handled by two of MGM's newest acquisitions, Yiddish dialect comedian Benny Rubin and ukulele-playing Cliff Edwards. Marion's noble French boyfriend is enacted by George Baxter.
As with many other early sound films, the movie suffers with too much talk. However, the recurring musical sequences are mostly quite welcome. The opening scene, with its idyllic look at Marion's village, shows the quality of art direction for which MGM was famous.
And pity the poor pig Anatole!
A Bit Long But Nice
Michael_Elliott26 September 2009
Marianne (1929)
** 1/2 (out of 4)
Three American GI's (Lawrence Gray, Benny Rubin, Cliff Edwards) at the end of WW1 fall in love with a French woman (Marion Davies) but she wants none of it and has to fight all of them off even though her heart might change. Apparently this film was originally made as a silent but the studio went back and re-filmed the entire thing. I'm sure they scrapped an entire movie because of Davies' famous lover but it would be interesting comparing both versions. This one here has a lot of music sequences so it would be interesting seeing what they did in the silent version. Considering this is an early sound film you have to expect some of the rather poor sound quality but Davies performance will have her fans wanting to check this out. There's really not too much story here and certainly not enough to carry a 112-minute film. The movie runs a tad bit too long because it's quite predictable so getting to the ending takes quite a while especially when you know who she's going to fall in love with. The music sequences are all rather strange because they pop out of anywhere and the film doesn't try to hide the fact that many of those doing the singing really aren't that talented in the field. The rather bland singing makes for an interesting experiment and in some ways it makes the film seem almost surreal but at the same time the bad singing works against the "musical" aspect of the film. Davies gets to belt out a couple lines but they're hidden within some comedy. Either way, she turns in a fine comic performance even though her French accent isn't the greatest. The think accent is also hard to understand at times due to the sound quality but it's only a minor problem. The three male leads are all fine in a strange sort of way and they're certainly over the top in a campy but entertaining way.
** 1/2 (out of 4)
Three American GI's (Lawrence Gray, Benny Rubin, Cliff Edwards) at the end of WW1 fall in love with a French woman (Marion Davies) but she wants none of it and has to fight all of them off even though her heart might change. Apparently this film was originally made as a silent but the studio went back and re-filmed the entire thing. I'm sure they scrapped an entire movie because of Davies' famous lover but it would be interesting comparing both versions. This one here has a lot of music sequences so it would be interesting seeing what they did in the silent version. Considering this is an early sound film you have to expect some of the rather poor sound quality but Davies performance will have her fans wanting to check this out. There's really not too much story here and certainly not enough to carry a 112-minute film. The movie runs a tad bit too long because it's quite predictable so getting to the ending takes quite a while especially when you know who she's going to fall in love with. The music sequences are all rather strange because they pop out of anywhere and the film doesn't try to hide the fact that many of those doing the singing really aren't that talented in the field. The rather bland singing makes for an interesting experiment and in some ways it makes the film seem almost surreal but at the same time the bad singing works against the "musical" aspect of the film. Davies gets to belt out a couple lines but they're hidden within some comedy. Either way, she turns in a fine comic performance even though her French accent isn't the greatest. The think accent is also hard to understand at times due to the sound quality but it's only a minor problem. The three male leads are all fine in a strange sort of way and they're certainly over the top in a campy but entertaining way.
Great Marion Davies Film
whpratt13 January 2008
Enjoyed the great acting of Marion Davies and the many stories about William Randolph Hearst and their great parties in California in the Hearst Castle. In this film Marion Davis plays the role of a French Country girl named, Marianne (Blondy) who also has adopted children to take care of and along comes the GI Joes from WW II to her farm. Marianne is charmed by three American Soldiers and Pvt. Stagg, (Lawrence Gray) tries his best to charm Blondy into a nice warm relationship, but she has nothing to do with him and he never seems to give up. There is plenty of comedy, dancing and singing by Marion Davies which makes this a very entertaining film from the Year 1929, don't miss this film, it is a great classic and well directed and produced.
French pixie
bkoganbing3 January 2019
In the title role of Marianne was Marion Davies in her sound debut at MGM. In
this she plays a French waif who is engaged to a French soldier blinded in combat
played by George Baxter. That is until the sight of doughboy Lawrence Gray gets
her French mojo going.
It's not a great film by any means, but it does display the comedic talents that Davies he had. She's positively a pixie in this film flitting back and forth between Baxter and Gray.
Benny Rubin and Cliff Edwards get to do a comedic bit or two, but this film without a big male screen name opposite Davies allows the film to really be her show. As this film is pre-Code there are some truly risque lines and situations in it. There is also a French language version shot simultaneously with some cast alterations.
Marianne is not a great film, but a must for a Marion Davies fans.
It's not a great film by any means, but it does display the comedic talents that Davies he had. She's positively a pixie in this film flitting back and forth between Baxter and Gray.
Benny Rubin and Cliff Edwards get to do a comedic bit or two, but this film without a big male screen name opposite Davies allows the film to really be her show. As this film is pre-Code there are some truly risque lines and situations in it. There is also a French language version shot simultaneously with some cast alterations.
Marianne is not a great film, but a must for a Marion Davies fans.
Musical romance set in France during WW1
AlsExGal9 April 2023
From director Robert Z. Leonard. Marion Davies stars as Marianne, whose beloved Andre (George Baxter) has shipped out to the front. Sometime later, a company of American G. I.s are stationed in town, and one of them, Stagg (Lawrence Gray) falls hard for Marianne. Stagg, along with his buddies Soapy (Cliff Edwards) and Sam (Benny Rubin), make life miserable for the poor French girl with their incessant jokes and songs, although she eventually warms to them all. Also featuring Scott Kolk, Robert Edeson, and Emile Chautard.
This was Davies first sound film, and I found her charming, funny and with a good voice, even with her thick and phony French accent. The scenes where she dresses as a French soldier are a highlight. My favorite song was one by comic relief Rubin, a cantor-esque number called "The Girl from Noochateau". The movie is overall is harmless fluff, a bit overlong at 111 minutes, but a promising sign in the development of the musical in the new sound medium.
This was meant as a musical take on 1925's "The Big Parade".
This was Davies first sound film, and I found her charming, funny and with a good voice, even with her thick and phony French accent. The scenes where she dresses as a French soldier are a highlight. My favorite song was one by comic relief Rubin, a cantor-esque number called "The Girl from Noochateau". The movie is overall is harmless fluff, a bit overlong at 111 minutes, but a promising sign in the development of the musical in the new sound medium.
This was meant as a musical take on 1925's "The Big Parade".
Marion Meets the Moustache
wes-connors6 January 2008
Marion Davies moves unsteadily into sound films, as the title character in the musical "Marianne". This was Davies' first sound film; a silent version was filmed earlier. In her first aural offering, Ms. Davies combines silent mannerisms with a sometimes lilting, sometimes grunting French accent. Davies is admired by several U.S. soldiers, but mostly Lawrence Gray (as Stagg). Mr. Gray helps retrieve Davies' stolen pig, albeit mostly eaten.
There are several embarrassing scenes, but the film really goes downhill during a musical number involving Benny Rubin (Sam) and Cliff Edwards (Soapy) serenading a distraught Davies. This song and dance is followed by Davies doing deep knee bends, in drag, while bragging about her intimacy with a General. Later on, she does musical impressions of Maurice Chevalier and Sarah Bernhardt. They are not as fun as they sound! Mr. Rubin sings "The Girl from Neufchâteau" extremely well, though; his is the film's best musical performance.
The best scene occurs with Davies in a military jeep, with Gray; she is still disguised as a male officer, complete with moustache and a cap. The scene works because Davies, instead of playing a French woman, play-acts a French officer. Here, she proves herself an actress well-suited for talking pictures. You may also notice her sometimes uncanny resemblance to Lucille Ball; especially, recall Ms. Ball's "Lucy Meets the Moustache" (1960). It is most obvious Ball referenced some of Davies' comic work.
**** Marianne (8/24/29) Robert Z. Leonard ~ Marion Davies, Lawrence Gray, Benny Rubin
There are several embarrassing scenes, but the film really goes downhill during a musical number involving Benny Rubin (Sam) and Cliff Edwards (Soapy) serenading a distraught Davies. This song and dance is followed by Davies doing deep knee bends, in drag, while bragging about her intimacy with a General. Later on, she does musical impressions of Maurice Chevalier and Sarah Bernhardt. They are not as fun as they sound! Mr. Rubin sings "The Girl from Neufchâteau" extremely well, though; his is the film's best musical performance.
The best scene occurs with Davies in a military jeep, with Gray; she is still disguised as a male officer, complete with moustache and a cap. The scene works because Davies, instead of playing a French woman, play-acts a French officer. Here, she proves herself an actress well-suited for talking pictures. You may also notice her sometimes uncanny resemblance to Lucille Ball; especially, recall Ms. Ball's "Lucy Meets the Moustache" (1960). It is most obvious Ball referenced some of Davies' comic work.
**** Marianne (8/24/29) Robert Z. Leonard ~ Marion Davies, Lawrence Gray, Benny Rubin
Charming talkie debut for Marion Davies
Dr. Ed5 September 2000
Marion Davies starring talkie debut is a total triumph. She plays a French country girl wooed by 3 American doughboys during WW I (nicely played by Lawrence Gray, Cliff Edwards & Benny Rubin). But this is Marion's show all the way. This 1929 musical displays Marion's wonderful comic gifts as well as her pretty good singing & dancing. But it's her personality that shines through in this gutsy career move. She was the first major star to try a foreign accent in her talkie debut (she had co-starred in the Hollywood Revue of 1929 that same year). While other stars were fretting over their accents, Marion jumped right in. Now that her "association" with William Randolph Hearst is old news, today's audiences can watch Davies without the baggage and marvel at her comic timing and versatility. She certainly ranks with the decade's best comediennes: Carole Lombard, Jean Arthur & Myrna Loy!!!
Great for a 1929 musical--but it doesn't age especially well
planktonrules4 January 2008
MARIANNE is a film about a French lady whose fiancé has gone off to fight in WWI. Shortly after you see them get engaged, the war begins and he has already been gone for four over years when the bulk of the movie takes place. The war has just ended but American soldiers are still in France awaiting transport home. In the meantime, one company is stationed near Marianne's farmhouse and so they spend most of the movie trying to score with this lovely French girl, but she is too chaste and gives each one the brush off--that is until late in the film she falls for one of them. But what to do? She's engaged to a Frenchman and also loves an American--and how all this is resolved is something you'll just need to see for yourself.
I don't know if MARIANNE was originally a musical play, but I assume it was based on the look and style of the film. Any sound movie made in 1929 suffers when seen today due to poor sound--this is just a fact. Since the use of sound was still pretty new, these films tended to have lots of problem with fluctuating sound and actors were forced to stand close together and movie very little so they could be properly recorded--making the films look very stilted and this was especially a problem with musicals. Despite this, for 1929, MARIANNE was actually much better than most, as the sound, though poor, is definitely better than most of its contemporaries. But because the actors couldn't move around much, it still did have a rather stiff and claustrophobic feel. But again, you can't blame this film for this and you really can't compare MARIANNE to musicals made just a few years later. If I were reviewing it in 1929, I might be so bold as to give the movie a 9--it WAS very good and despite some negative comments about Marion Davies' performance, I thought she was just lovely and carried off the French accent reasonably well.
Now because the film is so archaic and the songs were just okay, by today's standards a more appropriate score might be a 5 or 6. It is just a time-passer because of the technical limitations. Because of this, I'm splitting the difference and giving it a 7--recognizing it was great for its day but also that compared to later musicals it's not especially great. In many ways, it's more a film for film historians and true cinephiles.
By the way, it sure would have helped had this film been closed captioned. My hearing isn't especially great, but most people would benefit from this if it were available due to the archaic sound equipment.
I don't know if MARIANNE was originally a musical play, but I assume it was based on the look and style of the film. Any sound movie made in 1929 suffers when seen today due to poor sound--this is just a fact. Since the use of sound was still pretty new, these films tended to have lots of problem with fluctuating sound and actors were forced to stand close together and movie very little so they could be properly recorded--making the films look very stilted and this was especially a problem with musicals. Despite this, for 1929, MARIANNE was actually much better than most, as the sound, though poor, is definitely better than most of its contemporaries. But because the actors couldn't move around much, it still did have a rather stiff and claustrophobic feel. But again, you can't blame this film for this and you really can't compare MARIANNE to musicals made just a few years later. If I were reviewing it in 1929, I might be so bold as to give the movie a 9--it WAS very good and despite some negative comments about Marion Davies' performance, I thought she was just lovely and carried off the French accent reasonably well.
Now because the film is so archaic and the songs were just okay, by today's standards a more appropriate score might be a 5 or 6. It is just a time-passer because of the technical limitations. Because of this, I'm splitting the difference and giving it a 7--recognizing it was great for its day but also that compared to later musicals it's not especially great. In many ways, it's more a film for film historians and true cinephiles.
By the way, it sure would have helped had this film been closed captioned. My hearing isn't especially great, but most people would benefit from this if it were available due to the archaic sound equipment.
Marion Davies at Her Best! Oui! Oui!
JLRMovieReviews11 January 2017
Marion Davies stars in her first talkie after having a prolific silent movie career with this film, "Marianne." Here she is as a simple French lass in love with a French soldier during World War I. But when American soldiers see her they fall all over themselves trying to be the one first in line, particularly Lawrence Gray and Cliff Edwards. But Cliff Edwards (and Benny Rubin) primarily provide comic relief and some great songs. Cliff Edwards was a very talented singer and entertainer of his day, and sang the classic song "When You Wish upon a Star" and was the voice of Jiminy Cricket in "Pinocchio." Lawrence Gray has a nice voice too, but Cliff had that pep and comic flair thrown in his numbers. In fact, I saw this years ago, but had forgotten how funny this was. All the songs (sung by the soldiers!) were very good, considering how most of the early musicals, once talking pictures were made, were very dated and corny. The funniest part of the movie is when Marion masquerades as an officer to get Lawrence out of jail for taking her pig! Yes, I said, her pig! This was a fun and enjoyable showcase for the talented and underrated Marion Davies who was too many times dismissed as only William Randolph Hearst's mistress, therefore being under scrutiny in Orson Welles' classic, "Citizen Kane." Forget what you may think or know about her, and enjoy her as "Marianne."
Interminable Early Talkie
richardchatten5 January 2018
After a bright start set in a quaint little French village promptly trashed in extremely impressive war footage probably lifted from a previous MGM production, Metro warhorse Robert Leonard proceeds to plod through the remainder of this tinny early talkie comedy-drama with songs at his usual glacial pace. Much of the action is set in the barn were a group of demobilised doughboys are billeted, with the characters arranged and interacting laterally with each other as if on a stage.
Marion Davies does her best frolicking about with a French accent, although her funniest and sexiest sequence is a regrettably brief section in uniform as a French lieutenant choking on a cigar while attempting to keep her fake moustache in place.
Marion Davies does her best frolicking about with a French accent, although her funniest and sexiest sequence is a regrettably brief section in uniform as a French lieutenant choking on a cigar while attempting to keep her fake moustache in place.
There are much better Marion Davies pictures
wlb27 January 2008
I have been interested in Marion Davies ever since my first visit to "The Ranch", Wm Randolph Hearst's estate in San Simeon, now a California state park.
Charlie Chaplin considered Marion to be one of the best female comedians (the IMDb spell checker can't find the female equivalent) - the tragedy as I have heard is that Hearst kept pushing her to do dramatic roles. This was one such movie - and I understand her first "talkie" (besides one of the world's first) - there are some scenes of her in a comedy role but I have to say the movie was so boring to me I hit fast forward (it is not in the theaters anymore ;-) ) - just to get to the end.
Of the Marion Davies movies I have seen, so far "Show People" is my favorite - in it you can tell she has a self-deprecating sense of humor about herself and "show people" (particularly if they have met success)
Anyway I think my giving this a "5" was generous - it seem to just wander and wander without a destination until the end.
Charlie Chaplin considered Marion to be one of the best female comedians (the IMDb spell checker can't find the female equivalent) - the tragedy as I have heard is that Hearst kept pushing her to do dramatic roles. This was one such movie - and I understand her first "talkie" (besides one of the world's first) - there are some scenes of her in a comedy role but I have to say the movie was so boring to me I hit fast forward (it is not in the theaters anymore ;-) ) - just to get to the end.
Of the Marion Davies movies I have seen, so far "Show People" is my favorite - in it you can tell she has a self-deprecating sense of humor about herself and "show people" (particularly if they have met success)
Anyway I think my giving this a "5" was generous - it seem to just wander and wander without a destination until the end.
Marion Davies' First Talkie, with a French accent
springfieldrental24 June 2022
In a ranking of movies' top box office actresses published in Variety early 1929, Marion Davies landed in sixth place, just behind Greta Garbo and Norma Shearer. Davies, however, was nervous about appearing in her first talkie since she felt her slight but persistent stuttering would be magnified by the microphone.
Her employer, MGM, was late in the game converting its studios over to sound. Davies was scheduled to play a French shop worker during World War One in a silent. Her mentor, William Randolph Hearst, feared her profile would take a hit as a lowly worker in her first talkie and was glad to see her sticking with the silent format. Emblematic of the confusing times during the transition from silent to talkies, August 1929's "Marianne" ended up being produced twice-first as a silent, then in sound with reshot dialogue and singing sequences. Much to Hearst's delight, his mistress Davies, with a French accent, passed her debut in talkies with flying colors.
Hearst hired writer Laurence Stallings to design a plot similar to his 1924 play "What Price Glory" and his 1925 film "The Big Parade." By the time "Marianne" was finished in May, MGM realized that in the new era of talkies, the studio was going to be killed releasing the film as a silent. MGM, like many studios who were set to release their inventory of silents, realized it had to reshoot the majority of scenes with sound and keep as much of the silent sequences as possible, dubbing those scenes with background sounds . So Davies, with some new co-stars, including her male opposite, Lawrence Gray replacing Oscar Shaw, who had a commitment to return to New York City, had to reshoot a majority of her scenes in a revised screenplay. This conversion to an all-talkie shifted the movie's focus from a pure light-hearted war comedy into a musical with comedic interludes.
As other studios were doing what MGM did during that spring of 1929, it initially released the silent version of "Marianne" to small town movie houses not yet wired for audio as well as internationally, where the cinemas were late in converting to sound. MGM then released the talkie "Marianne" in the fall, where it was in the top ten movies for its first five weeks. The Davies film took in well over $1 million, a successful run for an early talkie whose fate would have been to collect dust on the shelves if the studio had not transformed "Marianne" to sound.
Her employer, MGM, was late in the game converting its studios over to sound. Davies was scheduled to play a French shop worker during World War One in a silent. Her mentor, William Randolph Hearst, feared her profile would take a hit as a lowly worker in her first talkie and was glad to see her sticking with the silent format. Emblematic of the confusing times during the transition from silent to talkies, August 1929's "Marianne" ended up being produced twice-first as a silent, then in sound with reshot dialogue and singing sequences. Much to Hearst's delight, his mistress Davies, with a French accent, passed her debut in talkies with flying colors.
Hearst hired writer Laurence Stallings to design a plot similar to his 1924 play "What Price Glory" and his 1925 film "The Big Parade." By the time "Marianne" was finished in May, MGM realized that in the new era of talkies, the studio was going to be killed releasing the film as a silent. MGM, like many studios who were set to release their inventory of silents, realized it had to reshoot the majority of scenes with sound and keep as much of the silent sequences as possible, dubbing those scenes with background sounds . So Davies, with some new co-stars, including her male opposite, Lawrence Gray replacing Oscar Shaw, who had a commitment to return to New York City, had to reshoot a majority of her scenes in a revised screenplay. This conversion to an all-talkie shifted the movie's focus from a pure light-hearted war comedy into a musical with comedic interludes.
As other studios were doing what MGM did during that spring of 1929, it initially released the silent version of "Marianne" to small town movie houses not yet wired for audio as well as internationally, where the cinemas were late in converting to sound. MGM then released the talkie "Marianne" in the fall, where it was in the top ten movies for its first five weeks. The Davies film took in well over $1 million, a successful run for an early talkie whose fate would have been to collect dust on the shelves if the studio had not transformed "Marianne" to sound.
Marion Davies Diversion
slaytonf29 January 2011
Pretty cute filmy with Marion Davies as a French mademoisette on a farm who has adventures with, and becomes the adored mascot of some dough-boys at the end of World War I. As for the plot, well, who cares about the plot, except that it provides for some vaudeville performing, and joking, and singing, and lovemaking patter between her and a soldier. High points include Davies' mangling of the English language, her impersonation of a French officer to get her American sweetie out of the guardhouse, and the musical number during the celebration on the eve of the Americans' departure. In spite of the general lightness and playfulness of tone, the picture also manages to fit in some pathos and nobility and self-sacrifice when Marianne and the American part company in favor of her fiancé, returned blind after four years' absence in the war. Sometimes it's dated, sometimes it's silly, and sometimes it doesn't work so well; but it is all the time Marion Davies, and her presence in any film makes it worth watching, no matter how bad it is; one of the few actresses it's possible to say that about.
Creaky early talkie doesn't show case Marion Davies to advantage.
Mozjoukine29 September 2002
With the current rush to assure us that Marianne Davies was the victim of a CITIZEN KANE hatchet, job her films are being rather weirdly up rated.
MARRIANNE creaks and what Davies shows here is guts rather than talent, performing in French (of a sort), singing, doing her impressions and delivering the awful `I present you with the air' dialogue with a scary determination, she registers like somebody's mum trapped into appearing in a local operetta society performance.
The studio have poured the best state of the art technique into the piece with varied angles, glossy sets and even a wobbly dissolve in camera to impress the voracious early talkie audience but they would have done better to flesh out the doughboys in Europe plot with more than the two gags they repeat endlessly.
Of the desperate cast, Benny Rubin manages to seem most at ease.
MARRIANNE creaks and what Davies shows here is guts rather than talent, performing in French (of a sort), singing, doing her impressions and delivering the awful `I present you with the air' dialogue with a scary determination, she registers like somebody's mum trapped into appearing in a local operetta society performance.
The studio have poured the best state of the art technique into the piece with varied angles, glossy sets and even a wobbly dissolve in camera to impress the voracious early talkie audience but they would have done better to flesh out the doughboys in Europe plot with more than the two gags they repeat endlessly.
Of the desperate cast, Benny Rubin manages to seem most at ease.
Self-indulgent Davies talkie
ArtVandelayImporterExporter11 January 2023
I am surprised someone got a writing credit on this movie. It plays more like Marion Davies and three ugly doofuses monkeying around on stage while the cameras rolled. Then after several miles of film were in the can, some poor editor on the studio payroll had to cut it into a coherent film.
His scissors weren't sharp enough because somehow this pointless, shapeless mess drags on for 112 minutes. I mean, who wants to see these doofuses take turns playing a toy guitar while singing - badly - some crappy 1920s songs.
Marion Davies was a super-talented comedian. But her attempt at a French accent in this, her first talkie, was amateur hour at best.
If you can stomach more than 15 minutes of this tripe, you're made of sterner stuff than I.
His scissors weren't sharp enough because somehow this pointless, shapeless mess drags on for 112 minutes. I mean, who wants to see these doofuses take turns playing a toy guitar while singing - badly - some crappy 1920s songs.
Marion Davies was a super-talented comedian. But her attempt at a French accent in this, her first talkie, was amateur hour at best.
If you can stomach more than 15 minutes of this tripe, you're made of sterner stuff than I.
Perhaps not Marion's best - but definitely NOT Susan Alexander!
SuZQ8524 July 2009
While Marianne is not Marion Davies' best effort, it does contain some delightful moments where she absolutely sparkles. Granted her accent isn't all it should be, but give her a break - it was, after all, her very first talkie and her main focus was on conquering her stammer.
I'm not one to normally write reviews, but I just had to remark upon a previous reviewer (niro's) comments. To say that Welles and Mankewicz got it "right" when they fashioned Susan Alexander after Marion is incorrect and just plain mean. Even Welles, in his foreword to Marion's memoir, apologized for making this parallel, saying "To Marion Davies (Susan Alexander) bears no resemblance at all." Reviewer niro also errs regarding the brilliant documentary "Captured on Film" - this outstanding film contains NO inconsequential interviews - with or without "fans". Furthermore, it isn't Joseph Cotten's character who searches to find the meaning of Rosebud, but an off-camera interviewer whom we never see. Tell me, niro, have you ever even seen Citizen Kane OR Marianne?
I'm not one to normally write reviews, but I just had to remark upon a previous reviewer (niro's) comments. To say that Welles and Mankewicz got it "right" when they fashioned Susan Alexander after Marion is incorrect and just plain mean. Even Welles, in his foreword to Marion's memoir, apologized for making this parallel, saying "To Marion Davies (Susan Alexander) bears no resemblance at all." Reviewer niro also errs regarding the brilliant documentary "Captured on Film" - this outstanding film contains NO inconsequential interviews - with or without "fans". Furthermore, it isn't Joseph Cotten's character who searches to find the meaning of Rosebud, but an off-camera interviewer whom we never see. Tell me, niro, have you ever even seen Citizen Kane OR Marianne?
Couldn't Finish It
view_and_review2 February 2024
I can't give a full synopsis of "Marianne" because I only watched about thirty minutes of it before turning it off. It was making me so uncomfortable I couldn't stand it anymore.
Marianne (Marion Davies) was a French woman trying to do what she could to survive during the war. When an American battalion came to her village she found herself (evidently) the only woman in a village with dozens of hungry and thirsty soldiers. And when I say thirsty I'm talking about the slang meaning, which is to say horny or lusty.
One particular soldier would not leave her alone and he wouldn't take no for an answer. He was hounding her so much--in her face, in her house, in her business--that the word rapey came to mind. The movie just didn't sit well with me. It was a bad look.
Naturally, because this is Hollywood, Marianne began falling for the persistent soldier thereby again sending the wrong message to the men of the world. Just keep harassing her and you'll wear her down. There's a fine line between persistence and harassment, but I assume when a woman literally kicks you out of her house that means she's not interested.
Free on Odnoklassniki.
Marianne (Marion Davies) was a French woman trying to do what she could to survive during the war. When an American battalion came to her village she found herself (evidently) the only woman in a village with dozens of hungry and thirsty soldiers. And when I say thirsty I'm talking about the slang meaning, which is to say horny or lusty.
One particular soldier would not leave her alone and he wouldn't take no for an answer. He was hounding her so much--in her face, in her house, in her business--that the word rapey came to mind. The movie just didn't sit well with me. It was a bad look.
Naturally, because this is Hollywood, Marianne began falling for the persistent soldier thereby again sending the wrong message to the men of the world. Just keep harassing her and you'll wear her down. There's a fine line between persistence and harassment, but I assume when a woman literally kicks you out of her house that means she's not interested.
Free on Odnoklassniki.
Marion Davies Closer to Kane's "Susan Alexander" Character
Niro3 January 2008
Just watched this today on TCM, where the other reviewers here saw it.
Sorry that I was the only one of two people to find Davies a weak actress, with a truly awful attempt at a French accent, which switches from French woman to an odd combination of Italian and Swiss.
She had the same problem with an equally fleeting Irish accent in 1932's "Peg O' My Heart." Interestingly, in TCM's one-hour bio of Davies -- "Captured on Film: The True Story of Marion Davies" (2001) -- film historian Jeanine Basinger claims that "one of the things that you note about Marion Davies in her sound work is how good she is at doing accents." Of course this bio also includes commentary by fans (make of that what you will).
Davies was a very attractive young woman, and by all accounts a terrific comedienne in real life.
And because a part of her anatomy added immeasurably to the real-life answer to Joseph Cotten's character's search for the meaning behind Kane's final word in the opening scene of the great "Citizen Kane," she's earned her spot among the great stories if Hollywood's history.
But I think Welles & Mankiewicz got it right for the most part with the "Susan Alexander" facsimile of the real article. And the drinking problem was spot-on, whether anyone at the time wanted to admit it or not.
Don't bother voting as to whether you agree or disagree with this post as I really couldn't care less.
Sorry that I was the only one of two people to find Davies a weak actress, with a truly awful attempt at a French accent, which switches from French woman to an odd combination of Italian and Swiss.
She had the same problem with an equally fleeting Irish accent in 1932's "Peg O' My Heart." Interestingly, in TCM's one-hour bio of Davies -- "Captured on Film: The True Story of Marion Davies" (2001) -- film historian Jeanine Basinger claims that "one of the things that you note about Marion Davies in her sound work is how good she is at doing accents." Of course this bio also includes commentary by fans (make of that what you will).
Davies was a very attractive young woman, and by all accounts a terrific comedienne in real life.
And because a part of her anatomy added immeasurably to the real-life answer to Joseph Cotten's character's search for the meaning behind Kane's final word in the opening scene of the great "Citizen Kane," she's earned her spot among the great stories if Hollywood's history.
But I think Welles & Mankiewicz got it right for the most part with the "Susan Alexander" facsimile of the real article. And the drinking problem was spot-on, whether anyone at the time wanted to admit it or not.
Don't bother voting as to whether you agree or disagree with this post as I really couldn't care less.
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