Virginia Bruce was one of those,I know the face but i cant remember the name stars.She deserved better.A very pretty young woman, and a convincing actress, was Miss Bruce.She was however overshadowed by the Irene Dunnes, Norma Shearers,Greta Garbos that reigned Hollywood supreme.She was of those able and sometimes forgettable actresses such as Karen Morley,Frieda Inescort,Kay Johnson. However in Metropolitan, she shines in her own gentle, ladylike way.Lawrence Tibbett the great operatic baritone has some glorious moments and some great arias and songs.Miss Bruce is his love interest and if that is her singing ,which I doubt; she had a lovely voice as well. The great silent star, Alice Brady is brilliant, as the temperamental opera diva.The movie moves along at a good pace and has a nice 30's plot.It is an enjoyable film for the cultured, over 40s viewer.What a joy to not be immersed in political correctness or cringe at 4 letter words. With a cast like Tibbett, Bruce and Brady how could you go wrong?
Add a Review
-
donlemc21 October 2006
-
bkoganbing4 July 2020Although the music is as grand as it gets from grand opera if you see Metropolitan you will certainly recognize the backstage plot of a lot of Warner Brothers Busby Berkeley films plus a few Mickey Rooney/Judy Garland works of the let's put n a show variety.
Diva Alice Brady makes a grand gesture and walks out of the Metropolitan Opera and announces she's forming her on company. She takes promising baritone Lawrence Tibbett with her. Tibbett looking for his big break goes along, but Brady proves excessive with all her demands artistic and personal. Especially after Tibbett pays attention to promising new singer Virginia Bruce.
If you are a fan of Lawrence Tibbett he does more singing here than in any other film. It's a regular Tibbett concert as he does a great variety of work with songs from his many concert tours..
Great music if tied indeed to a routine backstage plot. -
drednm16 February 2004Lawrence Tibbett's penultimate film. Oscar-nominated star of early talkies and 30s films is almost forgotten now. Good little film with terrific cast. Virginia Bruce, Alice Brady, Cesar Romero, Jane Darwell, Jessie Ralph, George Marion, Luis Alberni, Walter Brennan, Thurston Hall, Etienne Girardot, Mary Gordon are all familiar faces. Tibbett plays struggling singer who breaks free from dominating star, Brady. Several good arias and some nice cinematography. And it's not often you hear anyone referred to as "monkey wrench girl!"
-
jimbenben5 August 2005A curiosity primarily for the array of character actors (Walter Brennan, Jane Darwell, Alice Brady, Jesse Ralph). The usual backstage clichés: rehearsal begins with full costumes, sets and orchestra. The backstage area is spacious and well-lighted. And the show goes on in spite of the temperamental leading lady. One of the rare film opportunities to see Lawrence Tibbett. He sings extensive operatic excerpts, and it's not as stagy as one might expect for early filmed opera. This was filmed during the peak period of his career. Sadly, as his voice declined, he faded into alcohol abuse, arrests, and a life-ending fall.
-
No one should expect a well-wrought, intricately developed plot from a film that was designed as a showpiece for the American baritone Laurence Tibbett,any more than one would expect it from a Warner's backstage musicals from the 1930s. Tibbett was one of the few stellar performers of the Metropolitan Opera who was equally at home and successful in popular music. (I believe at one time, toward the end of his opera career, he was featured on "Your Hit Parade", singing what were supposedly the five or six most popular songs of the week, judged by record sales.) At the Metropolitan Opera he played the lead in the premieres of American operas such as Merry Mount, Emperor Jones and The King's Henchmen. I believe that he made the first commercial recordings from Porgy and Bess as Porgy, using the same dialect as in this film when he sings the Negro spiritual "Glory Road" in a perhaps over-dramatic rendition. The role of Bess is sung by another Caucasian opera star. Helen Jepson,who made one more Hollywood appearance in the pathetic Goldwyn Follies.
The supporting cast of experience character actors,as often happens, manages to give the claptrap plot a measure of credibility. Virginia Bruce, the leading lady, was an actress/singer who never broke through to stardom, despite a lengthy filmography. She had a beautiful soprano voice and a lovely appearance, but did not project much warmth as in the manner of top stars, even in her one solo from Carmen, as the timid and loving Micaela. Her voice belonged in operetta, not in either opera or show business tunes. Jeanette MacDonald has the former cornered, and there were many with more sensuous voices who succeeded with the latter. But she did look terrific at the top of the "wedding cake" number in The Great Ziegfeld, the most prominent role of her career. -
The script for this movie is really bad, a collection of tired clichés. And that's a shame, because there is enough talent here to have made a good movie.
Lawrence Tibbett was unquestionably one of the great singers of the first part of the twentieth century, and definitely one of the first American stars of opera, along with Rosa Ponselle and Grace Moore. He was a handsome guy who could act, and he had real stage presence, which you can see in this movie.
And that is what saves this movie from being a total loss. Several of Tibbett's signature roles - Tonio in Pagliacci, Escamillo in Carmen, Figaro in the Barber of Seville - get captured here, so that we can see why he delighted opera audiences for two decades at the Met. The opera excerpts are never presented or explained, however; they just get performed, leaving most of the audience to appreciate the music, if they can, without any idea what Tibbett is singing so well. That was expecting too much, I suspect, and it's a shame, because the three excerpts are good performances that could have been integrated into the script a lot better.
We also get to see Tibbett sing two popular numbers, and they are perhaps the most striking in the movie: a setting of Kipling's "On the road to Mandalay" and the spiritual "De glory road," with both of which Tibbett does a great job. Again, however, there is no effort to integrate them into the plot. At one moment, Tibbett sings them as examples of "beauty" to other musicians. Then they're over.
There isn't much else to notice in this movie. If that is Virginia Bruce doing Micaela's aria from Carmen, she does a good job of it.
The rest is all clichés. Why, you might wonder, does the movie start with Tibbett's character leaving Bruce's character stranded in the countryside with a broken down car? That should have aggravated her to no end. Instead, she falls in love with his voice.
It never gets any better.
This marked the end of Tibbett's movie career, and you can see why. But in this case the fault was not Tibbett's. The script was the villain! -
blanche-215 October 2005"Metropolitan" is a real find for opera lovers, with its absolutely glorious music and the heroic singing of opera star Lawrence Tibbett, one of opera's very brightest lights in the 1930s. Produced by Darryl F. Zanuck, "Metropolitan" showcases Tibbett in an absolutely ridiculous plot that features actors Alice Brady, Cesar Romero, Virginia Bruce, Walter Brennan and others. Brady, who later won an Oscar as Mrs. O'Leary in "In Old Chicago" is the stereotypical temperamental diva who forms her own opera company and keeps changing the premier opera every five minutes. First, it's Barber of Seville so we can hear Tibbett do "Largo al Factotum" - and Tibbett's is the version I was raised on; then after an angry fit, she decides to do Carmen - thus, we hear Tibbett do "The Toreador Song." Finally, after hearing Virginia Bruce sing "Micaela's Aria," she decides to banish the company. The group gets back on its feet before opening and decide to do "Cavalleria Rusticana" and "Pagliacci" instead! Those poor ticket holders! No idea what they were going to see, but we got to see Tibbett rehearse those glorious numbers plus perform "Si puo" at the end. One wonders what the vicious diva considered herself. In the beginning, she's angry that the Metropolitan Opera did not cast her in "La Sonambula" - a patently coloratura role, then she assigns herself "Barber," a coloratura role, and finally a mezzo role, Carmen! Hello.
Singing styles have changed over the last 70 years - no more fast vibrato, no more white high notes from sopranos, and the declamatory type of singing in opera, done a little bit by Tibbett in "Si puo" is reserved for very old, dried out singers close to retirement. But nothing diminishes the magnificence of Tibbett's gift. It's so wonderful to have him on film to appreciate.
Tibbett was an excellent actor as well as singer, and on stage he must have appeared quite attractive. But though his career overlapped that of Nelson Eddy and they were separated only by four years in age, Tibbett could not have achieved what Eddy did in films. While not anywhere near as good an actor, Eddy was considerably handsomer, younger in appearance, and his beautiful voice was more accessible to audiences. But if you have any interest in opera at all, try to catch this on Fox Movie Channel and listen to Tibbett sing "De Glory Road." You won't hear anything like that again. -
mkawagoye1 September 2007The passage of time could not be emphasized more emphatically than with the recent reissue by TCM of the 1935 rarity, "Metropolitan". The passing of the beloved American 'hometown' coloratura Beverly Sills may have prompted TCM to resurrect the more noted of the two movies made by the American 'hometown' baritone, Lawrence Tibbett. (The other movie was "Under Your Spell".) He was a product of Bakersfield, California.
It is unfortunate that the name has been so easily overlooked by many who may have been born ten years too late to enjoy his voice. It is incomprehensible today why such a magnificent voice coupled with a winning personality could not have resulted in a longer illustrious career for Mr. Tibbett, especially in the burgeoning Hollywood industry. It would certainly have helped to maintain a treasure trove of history for music lovers. Suffice it to say that this film does its best to rectify this oversight.
Mr. Tibbett provides us with a clear illustration of the power of his vocal abilities and also of his masterful interpretation of any piece be it operatic aria, Negro spiritual, or drawing room favorite.
In this 1935 movie he presents 'Largo al Factotum' from "The Barber of Seville"; 'The Toreador Song' from "Carmen" and the prologue from "I Pagliacci", 'Si Puo'. The second of a trilogy of spirituals by the noted composer, Jacques Wolfe, 'De Glory Road' is interpreted beautifully by Mr. Tibbett. And to accommodate the hoi polloi, the wonderful soliloquy of a British veteran of old Burma as imagined in a familiar poem by Rudyard Kipling and set to music by Oley Speaks, ' On the Road to Mandalay' is given its definitive interpretation by the greatest American baritone. (Paul Robeson is not considered here only because he was deemed to be a bass-baritone and did not have the opportunity to sing at the Met)
Both Virginia Bruce and even Alice Brady had creditable voices in their brief stints but were no match for Mr. Tibbett. MGM gave Miss Bruce the opportunity to display her musical ability further in the 1936 Eleanor Powell movie, "Born To Dance". She is the one who had the honor of introducing the Cole Porter classic 'I've Got You Under My Skin'. Also, as a nod to her pulchritude, she was the crowning model in the extravagant 'A Pretty Girl is Like a Melody' production number with the spiraling staircase in the 1936 "The Great Ziegfeld". Yes, she was the one at the top.
Alice Brady found that comedy was more rewarding for her in Hollywood than was music and enjoyed a long and illustrious career accordingly
Those of you who may have difficulty recalling the American baritones of yesteryear will be instantly and pleasurably reminded if you are fortunate enough to catch a viewing of "Metropolitan" on TCM. -
mmtoucan23 June 2004Darryl Zanuck's first release after the merging of his 20th Century co. and Fox studio, this features the boyish baritone, Lawrence Tibbett, in his prime. He was a busy guy in the 30s: top Metropolitan Opera star, movies, concerts, recitals and many radio appearances. The usual backstage story is played out with cheerful verve by the superior cast. Tibbett singing highlights are the famous "Figaro" aria from Barber of Seville; The Toreador Song from Bizet's Carmen; the Prologue to Pagliacci; as well as his rousing concert showpieces, "On the Road To Mandalay" and "De Glory Road: a negro spiritual." Tibbett's autobiography is titled The Glory Road.
-
Handlinghandel1 September 2005Alice Brady is ideally cast as a temperamental diva. She is believable and hilarious. The voice with which she sings seems to be her own.
Virginia Bruce, a charming performer, is OK but no more as an ingénue.
The movie is Lawrence Tibbett's. He sings arias from several composers, as well as singing some appealing songs. (Was it common in those times for Caucasian opera singers to perform spirituals? Regardless: He sings one.) The plum is a long section of "Pagliaci," in which he is, of course, superb.
This is the only commercial movie in which I've seen Tibbett. He appears a bit stodgy and is certainly not conventionally handsome. But his singing is glorious; and singing is what this movie is about.about. -
pompierson6 September 2005This 1935 film showed recently on a TV movie channel and proved an innocent delight. The story line is simple, the ending happy, the people snappily dressed and the sets splendid. A fading prima donna is fired from the Met and starts her own opera company. A renowned conductor comes from retirement to conduct, and hires baritone Lawrence Tibbett, one of America's first operatic super stars, whose superb singing is the chief attraction of the film. He has a rich, focused voice and agreeable good looks. When the prima donna's voice fails, the conductor quits and all is about to fall apart, until the heroine Alice Brady, who wanted to be an opera star on her own, turns out to be an heiress and saves the day.The sound track suggests that someone has done a spectacular job of restoring the print; Tibbett's ringing voice impresses in baritone favorites, "The Road to Mandalay," "Largo al factotum" from Barber of Seville, "The Toreador Song" from Carmen, and "Si puo," from I Pagliacci.
-
Outside of the Jeanette McDonald and Nelson Eddy films (and perhaps one or two of the Grace Moore or Lily Pons movies I've seen), the greatest film to be set in the world of opera. It is very funny, filled with great melodies and a bit of irony in the fact that it's the same plot as "42nd Street" moved up closer to Carnegie Hall and Lincoln Center, or wherever the New York City Opera was in the 1930's.
Taking over the role of the temperamental leading lady played by Bebe Daniels is Alice Brady who was the foolish society matron in the same year's "Gold Diggers of 1935", here a very untalented and spiky opera star whose ego is beyond the size of any star in the galaxy. She walks out of a performance of a local opera and decides that she's going to open her own company, and is none too pleased when she discovers that someone has put Virginia Bruce in the leading role. She's agreed on Lawrence Tibbet as the male lead, and in a very light-hearted performance, Tibbet goes from one leading role to another, nearly exhausting his voice to appease the harridan Brady.
Fans of the Tex Avery cartoons will recognize his version of "Figaro" where the cartoon opera star was heard shouting out "Hey Figaro!" in frustration of the magic happening while he sings. I'm not great at recognizing opera solos or areas, but I did recognize that and "Carmen". The staging for each number is perfect, and in some cases, burlesqued opera without ridiculing it.
Classic movie fans will also recognize many famous character actors, including two Academy Award winners of the future, Walter Brennan and Jane Darwell, and Cesar Romero, Thurston Hall and Jessie Ralph of "San Francisco" as the charwoman. I was absolutely delighted in how entertained I was consistently, laughing and applauding and never rolling my eyes over corny jokes or long hair music that in other cases would have had dogs barking miles away. One of the great unsung musicals of the 1930's with award worthy performances by Tibbet and Brady. -
bbmtwist16 September 2019METROPOLITAN (Fox 1935)
I find it to be a shame that Lawrence Tibbett appeared in only six films (1930-1936). His first, the Technicolor operetta, THE ROGUE SONG, is essentially a lost film. Only 23:29 minutes of footage survives, plus the complete soundtrack on Vitaphone discs. Youtube has a splendid reconstruction using stills from missing scenes. For this performance he deservedly was nominated for a Best Actor Academy Award.
As to the other five, they vary in quality. METROPOLITAN I consider his best film, both in terms of his performance, the script, and for the film itself. It is a fun musical comedy with wonderful singing. It zips along, always engaging and enjoyable. Tibbett appears opposite Virginia Bruce, who more than holds her own as a singer want-to-be. What really keeps this film going is the plethora of wonderful character performers from full roles to bit parts. Alice Brady is superb as the egotistical diva-producer, who wants Tibbett for more than just a leading man. She was but three years away from earning her Oscar. In a bit role scene Walter Brennan and Jane Darwell delight as owners of a questionable roadside tea shop. Brennan was a year away from beginning his three Oscar winning streak and Darwell but five years from her Oscar. In addition we have George Marion as the overly emotional Papa and Jessie Ralph in a lovely two scene cameo as a cleaning woman, who takes to an opera performance. The dashing young Cesar Romero provides additional eye candy.
Tibbett sings the Toreodor Song from Carmen, Largo al Factotum from The Barber of Seville, and the Prologue to I Pagliacci. In addition he sings two popular songs, On The Road to Mandalay (one of his career signature tunes) and De Glory Road. (My only problem with the film is that the last two are sung back to back in one small living room set and seem to go on forever. One ought to have been cut and re-staged elsewhere in the film. This very long segment stops the film in its tracks, but it quickly recovers its pace.) Bruce provides a lovely rendition of Micaela's aria from Carmen and she and Tibbett sing a brief duet from Faust.
Richard Boleslawski, a director otherwise unknown to me, keeps the action and the comedy moving at a good clip. The cinematography and editing are top notch. Altogether a marvelous film. Sadly, as with all the other extant films of Tibbett, it has never been released on video. One has to catch a TCM broadcast or buy a dvd copy from a private seller. METROPOLITAN is not to be missed. -
Metropolitan, what can I say? A real musical treat of a film. The story is not exactly familiar territory, but the production values for example are really well done, with lovely lighting, exquisite costumes and spacious settings. Even better is the music, a real treasure trove of operatic highlights especially Largo Al Factotum, Pagliacci and The Toreador's Song. Even better than that is the performance of Lawrence Tibbet, he doesn't quite have the looks of Nelson Eddy for example but what more than compensates is his exciting presence on film and his enormously resonant voice. Virginia Bruce and Alice Brady both look alluring and sing beautifully, although Bruce's Micaela sometimes lacks warmth and this detracts from the poignancy of the role. Overall, for fans of Lawrence Tibbett and opera this is a real delight. 8/10 Bethany Cox