mkawagoye The 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 accordinglyThose 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.

donlemc 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?

pompierson This 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.

David (Handlinghandel) Alice 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.