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4.9/10
Senior Film Conservator
A definitive 4.9/10 rating for a film that redefined the boundaries of cult cinema. 50 Million Frenchmen remains a cornerstone of transgressive art.
Alright, so if you're into the wild, slightly unhinged energy of early 1930s Hollywood musicals, 50 Million Frenchmen is absolutely worth a look today. It’s got that snappy, pre-Code charm that’s just *different*. People who love snappy dialogue and a dash of absurdity mixed with tunes will probably get a real kick out of it. However, if slow pacing, old-timey musical numbers, and a plot that’s thinner than tracing paper aren't your jam, then, well, you can probably skip this one. No hard feelings.
The whole setup is pretty straightforward. Jack, played by John Halliday, is this rich American in Paris. He makes a bet with his friend Michael that he can woo any girl he picks, in this case, Lu Lu (Barbara Weeks), without spending a single dime of his own money. It's a silly premise, but they run with it. Michael, not wanting to lose, hires these two detectives to keep Jack from succeeding. And oh boy, are they something else.
Helen Broderick and Lester Crawford play the detectives, and honestly, they're the highlight for me. Broderick especially. Her character, Mrs. De Vere, has this wonderfully deadpan delivery. There’s a scene where she’s trying to explain her investigative methods, and she just lists off these incredibly obvious observations. Her partner, Crawford's character, is just a clumsy sidekick. It's not laugh-out-loud modern comedy, but their back-and-forth has a very specific, dry humor that just clicks.
Speaking of things that click, or rather, *don't* always click, the pacing here is… a thing. There are moments of genuine quick wit, especially in the dialogue. But then, you get a musical number that feels like it goes on forever. Like, the whole 'You Do Something to Me' bit. It’s a classic Cole Porter tune, no doubt, but the way it's staged? It feels a little static, you know? Like they were still figuring out how to make song and dance feel dynamic on film. It's not quite a Broadway production, but it’s trying so hard to be.
Jack's attempts to impress Lu Lu without cash are where a lot of the comedy comes from. He’s always fumbling for excuses, trying to get others to pay his way. There’s a moment where he tries to sneak out of a restaurant bill, and the sheer panic on his face is quite relatable, even if his situation is entirely self-imposed. 😂 It’s charming, if a little predictable.
And the supporting cast! You have Nat Carr as Mr. Carroll, Lu Lu's father. He’s very much the stereotypical 'concerned parent' of the era. He wants his daughter to marry money, obviously. Then there's Evalyn Knapp as Olivia, who is also after Jack. The whole love triangle, or quadrilateral, whatever it is, adds to the chaos. It feels very much like a stage play adaptation, which, well, it is!
Now, a tiny, almost blink-and-you'll-miss-it detail. You see a certain famous face in the credits: Bela Lugosi. He has a very small, almost cameo role as a mysterious Parisian art dealer. It's not a lot of screen time, but seeing him pop up in a musical comedy is just… *odd*. It’s a fun little discovery if you're paying close attention. Like, 'Wait, was that really him?' Yes, it was.
The Paris setting, by the way, is mostly studio backlots. But they really went all out trying to make it look grand. There are some big set pieces, particularly the nightclub scenes. They're bustling, full of people dancing. Yet, sometimes, the crowd feels a little… thin? Like, you see the same few extras in different places. It's a very 1931 budget kind of spectacle, and it’s kinda endearing for it.
One thing that stands out is how bold some of the dialogue is for its time. It's pre-Code, so there's a certain frankness, a little wink-wink, nudge-nudge about relationships and money that got toned down real fast once the Code came into full effect. It’s part of the appeal, honestly. It feels a bit rebellious.
The ending wraps everything up in a neat little bow, as these things always do. No big surprises there. But getting to that ending, with all the misunderstandings and the detectives bumbling about, is the fun part. It’s not a movie that takes itself too seriously, which is a good thing because, frankly, it doesn’t have the depth to. It just wants to entertain you with songs and silliness.
So, yeah. 50 Million Frenchmen is a charming relic. It’s not groundbreaking. It's not going to change your life. But if you’re curious about early sound films, or just want a lighthearted, slightly dated musical romp, it delivers. It's an *experience*, you know? Not a masterpiece, but definitely a *time capsule* of a certain kind of filmmaking. Just be ready for the very specific vibe of 1931.
IMDb —
1915
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