Starring Betty Grable, Douglas Fairbanks Jr, Caesar Romero, and Walter Abel
Directed by Ernst Lubisch and Otto Preminger
Music by Friedrich Hollaender; Lyrics by Leo Robin
That Lady In Ermine had an even more troubled production than The Emperor Waltz. The original director was frothy comedy specialist Ernst Lubisch, but he had a fatal heart attack eight days into filming. His replacement couldn't have been more different. Otto Preminger was known for his mysteries and dark dramas. He'd done one previous musical, the nostalgic Centennial Summer. That the film was a huge flop in 1946 didn't stop them from recruiting Preminger to handle an even fluffier story. How does the change in director affect the tale of a countess who is encouraged by her notorious ancestor to stop a Hungarian count from harming her husband? Let's begin at the wedding of Countess Angelina (Grable) and Baron Mario (Romero) in Northern Italy in 1861 and find out...
The Story: The two were barely married for a few hours when the castle was attacked by the Hungarian Army, led by dashing Colonel Teglash (Fairbanks Jr). Mario flees, leaving his wife to deal with the invaders. Her ancestors in their paintings call on Francesca (Grable), depicted as wearing nothing but an ermine cloak, to save them as she did 300 years before. Angelica does think he's handsome, but she's also devoted to her new husband. Even the story of how Francesca supposedly killed the Duke (Fairbanks Jr.) who lead another invading army against the castle doesn't scare him away.
Mario returns to the castle disguised as a gypsy. Teglash is ready to hire him when he hears his excellent violin playing, until he realizes he's Angelica's husband. He asks for her to dine with him if he spares Mario's life, but she doesn't show. It's up to Francesca to send a dream that's romantic enough for Teglash to retreat...and Angelica to understand whom she truly cares about.
The Song and Dance: This has an even worse reputation than Emperor Waltz...but honestly, it's not that bad. Fairbanks Jr. and Romero have a wonderful time chewing every bit of the lavish scenery, with Fairbanks especially good as the officer who falls for both Angelica and her mysterious ancestress. The Technicolor is exquisite, a Dresden candy box showing off a wide range of glowing pastels. Grable flounces around in amazing hoop-skirted gowns and sleek fur coats trimmed with acres of ruffles, sequins, bows, and tulle, while the men show off their gold braided Italian and Hungarian uniforms and colorful gypsy rags.
The Numbers: We open with "The Jester's Song" as Major Horvath's (Abel) ancestor Benvenuto (Abel) reports the invasion to the other ancestors in the paintings. They all join Francesca as she sings "Ooh, What I'll Do (To That Wild Hungarian)" and reveals her plans for repelling Teglash and his army. One member of a chamber orchestra plays a short, sad instrumental violin song for Teglash after they've taken the castle, but his mind is on the woman in the painting. Francesca reminds her ancestress in a dream that it doesn't matter who a man is or what he looks like if "The Melody Is Right."
The orchestra reprises "Ooh, What I'll Do" during Tegash's lengthy dream sequence near the end of the movie. Francesca tells him he can do anything he wants, including do a vigorous waltz with her and boom "This Is the Moment" in a very dubbed baritone. Francesca's rendition is a little less bombastic and easier to take. Tegash's second dream is shorter and a lot less pleasant. He and Francesca dance again, only for her to literally stab him in the back. The two of them and the ancestors end the movie with another wild dance to "Ooh, What I'll Do."
Trivia: This began life as a German operetta in 1919, which later inspired an American stage show, Lady In Ermine. It was filmed twice before, as a silent under the original title in 1927 and as the racy musical Bride of the Regiment in 1930. Both films are now mostly lost other than a very short fragment of Bride.
"This Is the Moment" was nominated for Best Song in 1948, but lost to "Buttons and Bows."
What I Don't Like: Preminger's heavy-handed bombast is all wrong for a frothy romantic comedy. Everyone is always shouting and stomping when they should be laughing and waltzing. All the screaming makes a hash out of the big "This Is the Moment" dream sequence. It takes the spice out of what should be a racy romp. Grable is especially stiff and noisy, and not really believable as the reluctant countess or her matchmaking ancestress. No wonder she later called this her least-favorite vehicle. Oscar nomination aside, the music isn't really all that memorable, either. Preminger would do far better with two dark operas in the 50's, Carmen Jones and Porgy and Bess.
The Big Finale: While not nearly as bad as most people claim, it has its fair share of problems. It's probably best for major fans of Grable or the two leading men, or those who love historical costume flicks and might be interested in the gorgeous production.
Home Media: The 20th Century Fox Cinema Archives DVD is hard to find, but it is available on streaming.
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