Hitting a New High
Product ID: 1785649
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Millionaire opera buff Lucius B. Blynn (Edward Everett Horton) heads to Africa after big game -- and bags himself a coloratura. What Blynn doesn't know is that his exotic discovery, Oogahunga the Bird-Girl (Metropolitan Opera legend Lily Pons), is actually a Parisian jazz singer named Suzette, transplanted to the jungle by an enterprising press agent (Jack Oakie) who knows a great story when he makes one up. Raoul Walsh (White Heat) takes the reins of a zany musical that shifts between the comic (compliments of Oakie, Horton and Eric Blore as an imperious oboist) and the sublime (Pons' glorious voice graces several numbers, including the "Mad Scene" aria from Lucia di Lammermoor, the opera that catapulted her to renown). The musical director is easy-listening maestro Andre Kostelanetz, who must have made quite an impression on the leading lady: he wed Pons just a few months after Hitting a New High premiered.
D**D
Lily Pons and A LOT of male actors
A very strange film. What do you get when Lily Pons, celebrated French-Italian Opera Soprano, is added to a large cast of freelancing male Hollywood 1930s actors? "Hitting a New High" that's what! Pons is a club singer working for John Howard, who is apparently her fiancé, but she wants to "sing Titania" (referencing a role played by a character in Ambroise Thomas' opera "Mignon"). She gets "discovered" by Jack Oakie, who then introduces her to Edward Everett Horton in a staged African safari as a native girl after she has a falling out with John Howard. In New York, Howard finds her and threatens to spill the beans as to her true identity, the rest is one crazy opera filled ride, but the ending is a joy!
R**O
Mildly amusing at best
Lily Pons was new to me, and I took a chance on this one mainly for the rest of the cast. Oakie, Horton, & Blore are all favorites and lend tons of support in other good to great musicals including Rogers/Astaire classics and Betty Grable hits. Unfortunately despite having a fine singing voice, Pons does not make it as a lead actress. She is not the best at lip-sync, does not translate well on the more "popular" tunes in the score, and doesn't have the looks of a Kathryn Grayson, Jeanette MacDonald, or Jane Powell. The story is entertaining enough and leans on the supporting cast's strengths to give it enough humor for a okay ranking, but it is not special unless you are really a Pons fan. Mildly amusing with exposure to the singing star is about the best you can say.
E**M
Superb!!!!! Great viewing, Great listening
Good old fashion comedy-musical! Lily Pons supreme coloratura voice just shines!!!!!! Great movie to sit and watch with your family on a rainy day. Reminds me of all the musicals my mom and dad watched with us in the 50's and 60's. I got it to study Lily Pons singing technique since I am a coloratura as well. Lily is was and still is the Queen of the song birds!!!!!!!
L**H
Very nice
Ilove this movie Lily Pons has wonderful coleratura soprano voice that makes you believe that you are in heaven among the angels.
A**R
loved this pons was is and always will be one of the greatest sopranos daft film glorious voice
wonderful
R**Y
La castafiore à la RKO
Un réalisateur brillant et versatile (Walsh), des seconds rôles irrésistibles (Edward Everett Norton), des décors somptueux dans la lignée de ceux des comédies musicales de Ginger et Fred... Pourtant la sauce ne prend pas complètement. La faute, selon moi, aux vocalises de Lily Pons qui, Dieu merci, ne devint jamais une vedette à Hollywood. Dès qu'elle se met à roucouler (et elle roucoule beaucoup car elle se fait passer pour une femme oiseau ramenée de la jungle) le film devient tout juste impossible à regarder. Regrettable car il contient des moments plaisants du fait d'un scénario léger et d'une distribution soignée.
C**E
Disappointong
Musical content disappointing.
M**U
Un rossignol à New York
Disons-le tout net : ce n'est pas du très grand Raoul Walsh... Le scénario bateau de comédie musicale est convenu et prévisible, la réalisation honnête mais sans panache particulier. Mais quel plaisir de retrouver Edward Everett-Horton, le second couteau comique qui accompagne souvent le couple Astaire-Rogers, ici dans un rôle d'allumé totalement aveugle aux réalités qui lui va comme un gant ! Et les roucoulades sucrées de Lily Pons gardent un certain charme désuet.
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