By Azed Majeed
Early Lubitsch has all the earmarks of what makes him such a master. Breezy dialogue, convoluted plot, class barriers, gender issues and mistaken identity. Jeanette Macdonald sparkles as a runaway bride, with no prospects, who winds up in Monte Carlo. As with most Lubitsch, the plot hinges on masquerade; Jack Buchanan's Count posing as a servile hairdresser to be close to the Countess. One of Lubitsch's early musicals, it doesn't quite all work, some of the direction is slow and awkward, and Buchanan is a the type of man that no woman finds attractive today. He's a bit creepy with his heavy makeup and whiny voice. Still, the Lubitsch touch makes it all go down sweetly. As in all screwball comedy, there's a lot about power dynamics between men and woman.