Jenny Lind: A Grand, But Sometimes Stuffy, Look at a Legend

Alright, so we're talking about Jenny Lind here. Is it worth tracking down today? Well, that depends on your patience. If you're a serious opera buff, or just really into classic biopics, especially those starring Grace Moore, then maybe. You'll probably appreciate the scale of it all. But if you’re looking for snappy dialogue, quick pacing, or something that feels contemporary, you’ll likely find it a bit of a slog. It’s definitely a period piece, in more ways than one.

The film starts with our young Jenny, full of ambition. There’s a scene early on where she’s singing in what looks like a tiny, dusty hall. You can almost feel the movie trying to tell you, **"Look how far she's come!"** It’s a bit on the nose, honestly.

Grace Moore, as Lind, certainly has the voice. And it’s a big voice. You get plenty of those grand opera moments, which, if you like that sort of thing, are pretty impressive for the time. She really belts it out. Sometimes, though, the camera just sort of sits there, watching her sing, and you wonder if they could have found another angle. Just for a change.

There's this whole subplot with André Luguet as a rather intense suitor, or maybe just a very enthusiastic admirer. Their scenes often feel like they belong in a different movie. Like, one minute he's giving her these really dramatic looks, and the next, we're back to another concert hall. The connection between them felt a bit forced. Like the writers felt she had to have a romance.

The pacing, oh boy. It’s not exactly a rocket ship. There are moments where you just feel the scene stretching, particularly during some of the more elaborate crowd shots. The extras are all beautifully costumed, yes, but they just sort of stand there, looking important. It’s visually busy, but not always engaging. Sometimes, a crowd scene just looks like a lot of people waiting for their cue.

Paul Porcasi plays a manager or impresario type. He's exactly what you'd expect: blustery, a bit over-the-top, constantly waving his hands around. He does his job, you know? You’ve seen this character before. He’s the guy who reminds her of her contracts. Always.

One detail that sticks with me is a brief shot of her hands, fiddling with a piece of fabric backstage, just before a huge performance. It's a tiny, quiet moment amidst all the spectacle, and it felt like one of the few times you actually saw her nerves. It’s a small thing, but it makes her feel a little more human than the grand stage persona. These little glimpses are rare, though. Mostly, she's just… a legend.

The costumes are another thing. Very lush. Very 19th-century. You can tell they spared no expense there. Sometimes, I found myself just admiring the fabric and the details, rather than paying attention to the dialogue. It’s almost distracting, how much effort went into making everyone look perfectly period. The hats alone deserve their own credit.

The movie does try to touch on the burdens of fame. There are a few scenes where she looks tired, or thoughtful, after a particularly demanding performance. But then it’s quickly back to another rousing aria. It doesn't really dwell on the internal struggle, which might disappoint if you're hoping for a deep character study. It prefers the external triumph.

Speaking of triumphs, the scene where she performs in America, I think it was New York, has this odd little moment where the sound of the crowd is just… deafening. It’s almost a bit much, like the sound mixer really wanted to make sure you understood how popular she was. It goes on a beat too long, and starts to feel less like enthusiasm and more like an assault. 😬

Overall, Jenny Lind is a big, ambitious film for its time. It definitely has its moments, especially if you like a good, old-fashioned opera performance. But it also feels a bit like a museum piece, carefully arranged but sometimes lacking a spark. If you go in expecting a grand historical spectacle and don't mind a slower pace, you might find something to enjoy. Just be ready for a lot of singing. And a lot of costumes. 🎩

Didja notice?

• That one scene where the stage curtains looked like they were made of actual velvet. So heavy!
• The way Georges Mauloy kept clearing his throat before every important line. A habit, perhaps?
• Grace Moore's wigs were magnificent. Always perfect, no matter the drama.
• The occasional very obvious studio backdrop when they’re supposed to be outside. You can spot the painted sky.
• One of the supporting actresses, Jean Diamond, had this really expressive eyebrow lift. It only happened twice, but it really stood out.
• The almost comical intensity of the adoring fans in the background shots. They just stand there, beaming.