That Girl from Paris: A musical mess that's actually kind of charming

If you're in the mood for something that feels like a long, loud fever dream from 1936, That Girl from Paris might just hit the spot. It's definitely not for anyone who needs a logical plot or, you know, realistic human behavior. But if you like your movies frantic, slightly operatic, and packed with people who just really, really want to be in a jazz band, you'll probably get a kick out of it.

Lily Pons is our runaway bride, Nikki. She spends half the movie singing like a bird and the other half causing absolute chaos for Gene Raymond’s band. It’s wild watching a supposed international opera star stow away on a ship just because she likes a guy who spent five minutes being grumpy at her in a desert. Logic was clearly not a priority for the writers here.

Lucille Ball shows up as the girlfriend, and honestly, she steals every frame she’s in. Even when the script gives her almost nothing to do but look annoyed, she’s doing the heavy lifting. There's a specific scene at a roadhouse where the tension is supposed to be high, but the whole thing feels like it’s about to fall apart in the best way possible.

Speaking of things falling apart, the band—the 'McLean Wildcats'—is basically just a bunch of guys who look like they are constantly one bad gig away from total collapse. Watching them deal with Nikki's constant presence is stressful. It’s like watching a train wreck in slow motion, except the train is playing swing music.

I couldn't help but think about how much lighter this feels compared to something like The Better Man, which takes itself way too seriously. This movie doesn't care. It just wants to get to the next song or the next slapstick bit.

Is the singing great? Sure, if you like opera. Is it jarring when she starts singing in the middle of a jazz set? Absolutely. It’s bizarre. It’s like someone decided to serve caviar on a greasy cheeseburger.

• The ship scenes go on forever, honestly.
• Herman Bing is in this, which is always a weird little treat.
• The pacing is basically 'run, sing, run, hide, sing.'
• Nobody ever seems to have a real job, except for the band.

It’s not perfect. The whole middle section drags because they keep running away from authorities who somehow never actually manage to catch anyone. It’s a bit like watching Go Easy, where the momentum just kind of stops to let the characters catch their breath.

By the time they hit New York, you’re kind of exhausted. But you keep watching anyway, just to see how many more times they can get fired before the credits roll. It’s silly, it’s loud, and it’s a total mess. Sometimes, that’s exactly what you need. 🎷