The Cat and the Fiddle (1934)

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

It's no definitive masterpiece but it's damn close.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

An old-fashioned movie made with new-fashioned finesse.

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.

Notable for three things - the MGM debut of the lovely Jeanette MacDonald; the musical ability of Ramon Novarro, at this time on his way out of films as his star began to wane; and the Technicolour finale.'The Cat and the Fiddle' comes to the screen from the Broadway operetta, retaining most of the already-dated songs, and a plot designed to make the most of familiar character actors of the time (Charles Butterworth, Joseph Cawthorn, Jean Hersholt).It is definitely minor league stuff when you consider the musical legacy of the MGM studios, but definitely worth watching. The leads are good together and in excellent voice, and the film is funny, sparkling, and very much of its time.

Charming musical/drama/comedy.A penniless composer in Brussels named Victor Florescu (Ramon Novarro) meets American singer Shirley Sheridan (Jeanette MacDonald). He is immediately (and understandably) attracted to her. She hates him but then they start collaborating and fall in love. She becomes successful and he doesn't. Will this tear them apart?The story is obvious from the beginning but who cares? This was MacDonald's first movie for MGM and they pulled out all the stops for her. The movie is beautifully done with lavish sets and costumes and a beautiful score. MacDonald and Novarro have no sexual charisma between them (a kiss at the end looks horrible) but they both can sing and play off each other nicely.MacDonald is very good at acting and singing. She's beautiful and what a voice! Novarro sometimes overacts (especially at the beginning) and he doesn't look too good (he was sadly suffering from alcoholism at the time and it shows) but he still has that boyish charm and smile and he can sing very well. And there's an interesting closing sequence in VERY bright two-color Technicolor (love Novarro's green suit!).It's well-done with beautiful sets, acting, stars and songs. This really should be better known. Also one of Novarro's best final roles before homophobia ruined his career. I give it an 8.

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.