Marketic It's no definitive masterpiece but it's damn close.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Mandeep Tyson The acting in this movie is really good.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

TheLittleSongbird Metropolitan, what can I say? A real musical treat of a film. The story is not exactly familiar territory, but the production values for example are really well done, with lovely lighting, exquisite costumes and spacious settings. Even better is the music, a real treasure trove of operatic highlights especially Largo Al Factotum, Pagliacci and The Toreador's Song. Even better than that is the performance of Lawrence Tibbet, he doesn't quite have the looks of Nelson Eddy for example but what more than compensates is his exciting presence on film and his enormously resonant voice. Virginia Bruce and Alice Brady both look alluring and sing beautifully, although Bruce's Micaela sometimes lacks warmth and this detracts from the poignancy of the role. Overall, for fans of Lawrence Tibbett and opera this is a real delight. 8/10 Bethany Cox

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.

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.

jimbenben A curiosity primarily for the array of character actors (Walter Brennan, Jane Darwell, Alice Brady, Jesse Ralph). The usual backstage clichés: rehearsal begins with full costumes, sets and orchestra. The backstage area is spacious and well-lighted. And the show goes on in spite of the temperamental leading lady. One of the rare film opportunities to see Lawrence Tibbett. He sings extensive operatic excerpts, and it's not as stagy as one might expect for early filmed opera. This was filmed during the peak period of his career. Sadly, as his voice declined, he faded into alcohol abuse, arrests, and a life-ending fall.