Hopes for this Goldwyn musical are raised by a stylish opening in which Tashman - as Fritzi, toast of Budapest night life - belts out her number, then gleefully provokes a riot among her admirers. Alas, she is rusticated by the police for scandalous behaviour; and Laye, making her Hollywood debut as a flower-seller with dreams of stardom, is persuaded to serve Fritzi's stint of rustic exile while she holes up with her current lover. Some very sub-Stroheim sex-play ensues as Count Mirko (Boles), the country magistrate responsible for Fritzi's good behaviour, confidently expects to bed the pseudo-Fritzi, while the dismayed innocent sets a romantic snare intended to leave him panting with frustration. True love naturally brings matrimonial bliss, and boredom for the viewer. The songs are standard operetta stuff, moonily sung; there are acres of unfunny comedy for Errol and Cameron (in servant/confidant roles); but the camerawork (George Barnes and Gregg Toland) is gorgeous.