Tovarich
(1937 ) 99 min. b&w

Tovarich is the story of two Russian aristocrats exiled in Paris, France, after the Russian Socialist Revolution in 1917. The Grand Duchess Tatiana, niece of the Czar, and her beloved husband, Prince Mikail Ouratieff were living in poverty. They had run through their own funds and now had to steal food in order to eat. They owed money to the landlord. They were two penniless refugees, not counting the forty billion francs, of course. Before the Revolution, the Russian Czar had seen fit to give Mikail the major portion of his gold, instructing him to place it in the Bank of France under his own name until better days. The interest had mounted and today, that money totaled something like forty billion francs, all in Mikail's account. But of course they couldn't use for themselves, even though they were hungry and on the verge of eviction.

Chauffourier-Dubieff, Governor of the bank of France, tried to talk them into using that money to finance the campaign of a pretender to the throne (Count Brekenski) to reconquer Russia. But Mikail believed that a counter-revolution was doomed to failure, so he refused Chauffourier 's plea. Count Brekenski warned them, "The representatives of the other Russia are also concerned about those forty billion francs.  Commissar Gorotchenko has just arrived in Paris and I have the distinct feeling that this money is beginning to place your very life in danger."

Gorotchenko. He had faced Mikail and Tatiana at the head of a Bolshevik board of inquiry. He had tortured Mikail and forced himself upon Tatiana. They were terrified of him. One night it would happen. Gorotchenko's men would waylay Mikail. They would take him somewhere, torture him to make him sign, destroy utterly the one person in the world whom Tatiana loved with consuming passion.

Brilliantly devised from the famous play, and with many additions from the inventive Hollywood mind, this combines the suavest sort of dramatic story with comedy in the new padded-cell school. Claudette Colbert and Charles Boyer, appreciative of each other's talents and superbly matched, create together the characters of basically simple design, despite the direction of Anatole Litvak who often is inclined to the rococo. With a leisurely beginning but without a perceptible flaw, there is unrolled an incident in the lives of two happily married White Russians of royal birth, who now after the Revolution live in the poverty of a Paris garret. Boyer, the husband, is custodian of some forty billion francs entrusted to him by the Tsar, but idealistically saves the fortune. He and Claudette, to be able to eat, hire out as butler and maid to a wild family. Then ensues a merry and highly amusing interlude when the employer, a loony banker, his gabby wife and tow youthful offspring all fall variously in love with the two new domestics. In the end both drama and buffoonery are climaxed at a dinner party at which Boyer and Miss Colbert are recognized by guests, and a Soviet Commissar makes a desperate plea for the imperial millions. Melville Cooper impresses solidly and Isabel Jeans does fine work. Basil Rathbone is morbid, with polish, as the Commissar. You must see it. —Photoplay, February 1938

As they struggled to figure out what to do, Tatiana read a classified ad in the paper: "Number four, Avenue de Tourville. Butler and Housemaid. Married couple wanted. Two rooms of their own. Luxurious surroundings. Central heating."

"Central heating," Tatiana breathed. "Absolute Paradise." She began to clap her hands. "Mikail, we are saved."

They wrote references for "Tina and Michel," a couple who worked for the Grand Duchess Tatiana and Prince Mikail Ouratieff. And then they headed to the Dupont home as Michel and Tina to apply for the jobs of Butler and Housemaid.

After a bizarre interview, Mikail and Tatiana were hired. The Duponts had no idea that their new servants were actually Russian royalty. Shortly afterwards, Mikail lay on the bed in the servants room, ravenously munching on a chicken bone. "The paper did not exaggerate," he breathed. "This is indeed paradise." Tatiana added, "We have been blessed with a home at last, Mikail, after all these long years."

Charles Boyer and Claudette Colbert

Isabel Jeans and Melville Cooper

Michel and Tina soon endeared themselves to the Duponts. They were efficient and good in their jobs.

On the morning of New Year's eve, Madame Dupont was telling Michel and Tina about the guests who were coming to dinner that night. Mikail and Tatiana were taken aback when they learned that Madame Dupont had invited the Soviet Commissar, Commissar Gorotchenko. Puzzled by their reaction, Madame Dupont asked, "Why, what's the matter? Do you know him?"

"Yes," Mikail answered. "We do know of him, Madame. He is a most cultivated man with a lively wit. And he has two eccentricities. Cigarettes and women."

That evening the house was festively lighted and most of the guests had already arrived. Mikail and Tatiana walked into the room with the cocktail trays. As Tatiana served the guests, she was recognized by Lady Cardigan. Tatiana had not even a moment to collect herself as the titled English woman faced her squarely and swept to the floor in a deep, ceremonial curtsey. Tatiana gasped, "Please don't!" She stood back against the wall and waited for the heavens to split asunder.

"Lady Cardigan," Madame Dupont said, astounded, "just why did you do that? Curtseying to a housemaid."

"Housemaid? That's ridiculous. She's the Grand Duchess Tatiana Petrovna." And suddenly, another voice spoke from the doorway. It was Chauffourier. He strode toward Mikail. "Excellency! I had no idea you were to be here." Mumbling apologies, Mikail turned and bolted.

And then the storm broke. With great glee, Chauffourier proceeded to tell them of Mikail's forty billion francs. Why, the Duponts' butler was the richest man in France!

With the names of Claudette Colbert and Charles Boyer decorating the marquee this thoroughly delightful comedy should do excellent business at the box-office. The Deval stage play has been given greater scope on the screen, due to skillful direction, and clever script, able acting and capable production. Director Anatole Litvak has overlooked no opportunities in winning laughs, while Casey Robinson's scenario is an able writing job. Robert Lord rates credit as associate producer. Boyer, usually cast in dramatic roles, proves equally at home in light comedy, while Claudette is her capable self opposite Boyer. An important factor in winning laughs is Melville Cooper, playing the part he created on the stage. Basil Rathbone, Isabel Jeans, Anita Louise, Maurice Murphy, Morris Carnovsky, Fritz Feld, Gregory Gaye, May Boley and Curt Bois are among the other important principals who do excellent work. Boyer and Claudette are "white" Russian refugees, members of Nobility, living in poverty in Paris. Boyer has been entrusted with a huge sum of francs by the Czar, and he will not touch one "sou" thereof. Boyer and his wife, Claudette Colbert, become servants in the home of Melville Cooper and Isabel Jeans, parents of Anita Louise and Maurice Murphy. The members of the Cooper family become very fond of them and it is not until the night of the Coopers' dinner in honor of Rathbone, Soviet Commissar, that the Coopers learn their servants are members of Royalty. Although Rathbone had persecuted Boyer and insulted Claudette, he pleads with Boyer to turn over the francs to the Soviet so that valuable Russian oil fields should not have to be leased to foreigners. Their love for their mother country is so strong that they turn over the money to him. —Film Daily, December 4, 1937

And then Commissar Gorotchenko arrived. Tall, lithe, and wearing a humorous, cynical smile, Gorotchenko was an incisive blade of a man, a civilized barbarian. The buzz of conversation stopped as Mikail approached Gorotchenko. "A cocktail, Commissar?"  Gorotchenko reached for a cocktail, saying, "Thank you." He must have recognized Mikail, but he said nothing. 

The evening went on like a nightmare. Gorotchenko's presence was like a burning brand, Madame's eyes a steady, sorrowful reproach. Finally, with dinner over, Tatiana stood over the dishes, washing them.

She had been alone for a few moments when she heard a light footfall. Whirling around, she beheld Gorotchenko. Fear replaced astonishment, but she said, quite calmly, "What have you come here for?" He smiled and said, "I came to see his Excellency." The man's poise was breathtaking, harrowing. Remembering his past abuse, she wanted to scream. Instead, she said, evenly, "You will please leave this room, Commissar."

Mikail opened the door and stopped short. "Oh! What are you doing in our kitchen?"

Tatiana knew that Gorotchenko had won before he had finished. This was their country, for which Gorotchenko pleaded, part of their very blood and bone. The man was a villain but within the stony wall of his heart lay Russia and all its future. Mikail asked Tatiana, "Do you want me to do it?" "Yes, Mikail."

Slowly, he sank into a chair and took up a pen. "The first and last check," he murmured as he signed his name to forty billion francs. Then, handing the slip of paper to Gorotchenko, he said, "You will inform the Soviet Government that this is tendered in the name of the Czar. And now, if you will excuse me, I must serve the lemonade." Mikail exited the kitchen. Gorotchenko turned to Tatiana and said, "Good-bye, Serene Highness." She moved to the door and held out her hand to Gorotchenko. "Good-bye, Tovarich."

The Duponts greet Commissar Gorotchenko.

Commissar Gorotchenko

The guests had all departed. Dressed in full court regalia, Mikail and Tatiana  stood in the kitchen. They had promised to take Georges and Helene to a little Russian cafe for a New Year's Eve party. Despairingly, they took one last look around the room. They knew they would lose their jobs because of their deception.

The door opened and Monsieur and Madame stood there, gaping at them. Madame began tearfully, "Oh, why did you have to be born a Grand Duchess and  Prince when good servants are so hard to get!" "It just happened, Madame," Mikail said weakly. "Well, it's a great pity," Monsieur sighed. "By the way, what will you do?"

Tatiana begged, "Oh, Monsieur, if you will allow us to stay until morning. Not that we want to inconvenience you." "Inconvenience us!" Monsieur threw up his head like one who sees the light. "I should jolly well say you won't. You'll have to stay until we get other servants — servants who are every bit as good as you are."

Mikail and Tatiana  stared. Servants as good as they were? Where would they find such people? It might take years and years. Quite right, Madame and Monsieur concurred. It might take a whole lifetime. That was the general idea. When the Duponts had left, Mikail and Tatiana clung tightly to one another, marveling over their good fortune. The film ends with the couple putting the trash out and the empty milk bottles as they leave for their New Year's Eve party.

They had 40 billion francs in the bank, but the Grand Duchess (Claudette Colbert) was stealing the dinner, and her husband, the Prince (Charles Boyer), was spending the day in bed because there was no fire in the miserable apartment under the eaves of the Paris pension. That is the beginning of the gay, charming tale of the two proud exiles from Russia who defend a sacred trust against all comers. The trust is the fortune, confided to them for safe-keeping by the Tzar in the parlous days when his throne was beginning to totter. And, though the Tzar was dead, they have defended his property with fanatic honor. They will not use the millions for themselves. And they are disdainfully amused at all suggestions from selfish parties who bring pressure upon them for its release. Things look pretty black when Her Imperial Highness is detected filching artichokes and caviar for dinner, but hope comes in the form of an advertisement. They apply for positions as maid and butler in the home of a banker (Melville Cooper). There they so enchant the daughter (Anita Louise), and the son (Maurice Murphy), and are in turn so delighted with the warmth, the food, the freedom of Thursdays off, that their problems seem solved until a Soviet Commissar (Basil Rathbone) is invited to dinner. There is delightful dialogue in this photographed play, sturdy drama, and enough gay comedy to make it one of the outstanding attractions. You'll like it for the surprise ending, as well as for the plot which keeps you guessing from the start. —Hollywood, March 1938

Warner's acquired the film rights to the 1936 translation of Jacques Deval’s play, and hired Anatole Litvak to direct the film. Tovarich was the first of nine films that Litvak made for Warner Bros. between 1937 and 1942.

When the film went into production, the title was Tonight's Our Night. The title was later changed to Tovarich, the title of the successful play upon which it was based. The word tovarich is Russian for "comrade."

Initially, Allan Conrad and Roland Young were in the cast. Allan Conrad (Georges Dupont) was replaced by Maurice Murphy.

Claudette Colbert and Charles Boyer, neither of whom was under contract to Warner Bros., were cast in the lead roles. Charles Boyer and Claudette Colbert had previously worked together in The Man From Yesterday (1932) and Private Worlds (1935), both at Paramount Pictures. Tovarich was the third and last pairing of these two stars.

Claudette Colbert was under contract to Paramount, and her contract allowed her to make a few films at other studios. When Claudette was cast as Tatiana in Tovarich, Kay Francis sued Warner Bros. to get out of her contract. Kay claimed that she had renewed her contract with Warners in 1935 because she was promised the lead in Tovarich. In late December 1937 Kay dropped the suit without explanation.

According to Screenland magazine (January 1938), Greta Garbo also wanted the lead in Tovarich.

Mikail is visited by Chauffourier-Dubieff, Governor of the bank of France, and Count Brekenski, the pretender to the throne.

Chauffourier-Dubieff and Count Brekenski greet the Grand Duchess.

Associate producer Robert Lord was also unhappy with the casting choices.  He put his objections in this letter to to Hal Wallis (executive producer), dated January 29, 1937:

In the letter, Robert Lord expressed a preference for Fredric March over Charles Boyer because Boyer was a "little man." Charles Boyer was in fact five feet nine, a little taller than Lord thought he was. Fredric March was five feet ten—only one inch taller than Boyer—and yet he seemed more regal to Lord. Rathbone and Aherne were over six feet tall.

In welcome contrast to the current trend of "goofy" comedy, TOVARICH, with its legitimately humorous situations concealing a moving dramatic story, is superb screen entertainment. Designed for more general appeal than the stage play, unfortunately the screen version still retains two of the original's most glaring faults; an opening which warms up too slowly and a tottering reception scene near the finish which is only rescued by the dramatically amusing conclusion. But even these defects do not deny that this is a fine piece of work; sharp in its farcical situations, tender in its love passages and screamingly funny in its comic moments. A natural money getter in the deluxe and better nabe houses, word-of-mouth advertising will help it in the subsequents. Actions and rurals will find it difficult to sell. Claudette Colbert and Charles Boyer are the owners of forty million francs, given them by the Czar before the revolution to be utilized in the best interests of Russia. However, the exiled nobles live poverty stricken in Paris, where they are the target of various officials who want them to convert the cash into government bonds and other interests. They decide it is best to go to work and, under assumed names, they become butler and housemaid to Melville Cooper and Isabel Jeans, the daffy parents of two equally insane children, Maurice Murphy and Anita Louise. How this odd family changes under the spell of its two charming servants forms the rest of the story until a dinner to which comes Basil Rathbone, an official of the Soviet Republic. Their identity is revealed and Rathbone prevails upon them to turn over the money to save Russia from losing certain oil interests coveted by other countries. Contrary to their expectations, the disclosure of their royal birth does not cost them their jobs. And thus happy that they can remain in the kitchen as two servants, the exiled Prince and Princess depart for a Russian New Year's celebration, putting out the milk bottles and garbage en route. Boyer again exhibits his splendid talents, eloquently shading his characterization so to extract from it full value. Colbert, while not the Russian princess type, succeeds admirably in a difficult role to which the slightest affectation would be ruinous. Melville Cooper's expressive face gives a good comedy note to his role as the banker. Basil Rathbone, briefly seen, is expertly menacing and sinister. Anatole Litvak has wisely chosen to stick to filmic technique rather than merely photograph a stage play. His clever bits of business lend added humor to the story. —Hanna —Independent Exhibitor's Film Bulletin, December 4, 1937

Tovarich was the only film in which both Basil Rathbone and Claudette Colbert appeared. It was also the only film in which both Basil Rathbone and Isabel Jeans appeared.

Charles Boyer and Basil Rathbone acted together in The Garden of Allah (1936), and then again in Tovarich.

Heather Thatcher and Basil Rathbone had acted together once before, in 1933, in the film Loyalties. And they would appear together again in If I Were King (1938) and in Above Suspicion (1943).

Melville Cooper played the role of Dupont in the stage play of Tovarich, which opened in London in 1935. He reprised the same role for the film. Basil Rathbone and Melville Cooper acted together for the first time in Tovarich. They would appear together again in The Adventures of Robin Hood (1938), The Dawn Patrol (1938), and a couple of episodes of the Schlitz Playhouse in 1954: "Volturio Investigates" and "The General's Boots."

Gorotchenko recognizes Mikail, who is serving drinks.

Tatiana and Mikail serve the dinner guests.

According to the Internet Movie Database, Claudette Colbert fought with the director over Charles Lang, the cinematographer. She "didn't feel that Lang was photographing her according to her wishes, and demanded that he be fired. Litvak refused, setting off almost constant battling between the two that lasted the entire length of shooting."

But other sources contradict that statement. In his book Claudette Colbert: She Walked in Beauty, Bernard F. Dick wrote that Claudette insisted on having Charles Lang as cinematographer. Picture Play (January 1938) reported that Charles Lang took extra time, which was putting the film behind schedule, so Warner Bros. fired him. Claudette Colbert personally paid the studio the cost of delays ($80,000) in order to get Charles Lang back as cinematographer.

Variety (August 25, 1937) reported, "Although Claudette Colbert had a verbal agreement with Warner Bros. that she could have her Paramount cameraman, Charles Lang, handle the photography on 'Tovarich,' he was fired without her consent after picture had been in production for three weeks. In order to reinstate him, Miss Colbert had to relinquish two weeks of her won salary—the first time on record that a star of Miss Colbert's calibre was forced into such a position."

One of the most successful plays of our generation comes to the screen as exceptional entertainment, a picture of such warmth, humanness and wit that I can imagine no one remaining immune to its charm. It is easy, glowing charm that comes from interplay of character and a fresh, lively sequence of events as well, of course, as from intelligent writing, sensitive acting and—oh, see "Tovarich" for yourself! It is about a couple of Russian refugees of royal blood in Paris and their adventures as butler and maid in an unconventional household. That tells little or nothing but it is all you need know. There hasn't ever been a pair of royalties like them, nor has there been a household like the one they serve. Nor, for that matter, a scene to equal that memorable moment when Prince Mikail and Grand Duchess Tatiana are recognized and pursue unruffled their task of waiting on table, serving their enemy the Soviet commissar who pursues them to the kitchen and succeeds in persuading Mikail to turn over forty billion francs in gold entrusted to him by the czar. The noble butler does it for the good of the Russian people. Right on the heels of his fine Napoleon in Garbo's "Conquest," Charles Boyer adapts himself with brilliant ease to the lighter requirements of this other royal role. More than that, he gives the character depth and compassion and serene repose. Claudette Colbert is no less ingratiating in what is perhaps the finest acting she has ever disclosed Basil Rathbone is superb as the commissar. The picture of the month! —Picture Play, March 1938

Anita Louise got the flu during production, but it didn't hold up production. Director Anatole Litvak filmed scenes with Boyer and Colbert while Anita was sick. According to the Internet Movie Database, Claudette Colbert also became ill during production, and her illness did cause the film to fall behind schedule.

Litvak insisted on lots of rehearsals. After 66 days of shooting, the production hit a budget figure of $1,400,000.

The managing director of Radio City Music Hall hosted a cocktail party in honor of Anatole Litvak, director of Tovarich, on the day before the premiere (December 24, 1937). A special "Tovarich" cocktail was created by Oscar of the Waldorf Astoria.

Tatiana leaves the apartment to steal some food for lunch.

Tatiana and Mikail try to sneak past the landlord to get into their apartment.

Reminding readers that Tovarich is a movie, and not historically accurate, author Bernard Dick wrote, "With the industrialization of the Baku oil reserves, Gorotchenko could not have been authorized to sell them. And the peasants starved anyway, once Stalin enforced collectivization, which led to widespread famine in Ukraine and the extermination of the Kulaks. Baku would become an issue in 1943 after Hitler set his sights on the oil fields, never realizing that the Russians would fight as heroically as they did at the battle of Stalingrad." —Bernard F. Dick, Claudette Colbert: She Walked in Beauty (University Press of Mississippi, 2008) p. 126-131

There is no doubt as to the drawing power of this picture, first, because of the popularity of the stars, and secondly, because of the fame of the play from which it was adapted. Its appeal, however, will be directed mostly to high-class audiences. Those who saw the play will be somewhat disappointed, for in its transition from the stage to the screen it has lost some of its charm. The first half is spoiled by too much burlesquing; but it gets much better in the second half, where there is plentiful comedy and human appeal. The best situation is that which takes place during a formal dinner party to which the Soviet Commissar had been invited; the comedy arises from the fact that the host was unaware that his butler and maid were Russian nobles, and that the Commissar was their worst enemy. Human interest is awakened by the eagerness of the butler and of the maid to hold on to their jobs, which meant their security and peace of mind: — Although he had forty million francs deposited in his name in the Bank of France, Boyer, a former Russian Price, refuses to touch one cent of it because the money had been entrusted to him by the Czar to be held until he would return to the throne. He and his wife (Miss Colbert), a former grand Duchess, live in squalid surroundings and even resort to stealing for their food. They finally decide to seek employment as butler and housemaid in the home of wealthy Melville Cooper, without divulging to him their social rank; they are overjoyed when Cooper engages them. In a short time Cooper, his wife (Isabel Jeans), his daughter (Anita Louise), and his son (Maurice Murphy), come to adore their two servants, because they display talents as musicians, fencers, and poker players. At an important dinner party given by Cooper, at which the Soviet Commissar (Basil Rathbone) had been invited, one of the guests recognizes both Miss Colbert and Boyer and bows to them. Cooper and his wife then learn who they are and are terrified at what might happen upon the Commissar's arrival. But the dinner passes off smoothly. After the dinner Rathbone pays a visit to the kitchen and pleads with Boyer to help Russia by turning over the money so as to stave off the avaricious attempts of other nations to gain control of Russia's oil wells. Although they despise Rathbone and everything he stood for, they turn the money over to him for the sake of Russia. And their happiness is restored when Cooper tells them they could remain in his employ. —Harrison's Reports, January 1, 1938

Go to Page Two for more reviews and pictures. See Page Three for pictures of posters, lobby cards and promo photos.

.

.

.

Top of
Page

Site Map

All original content is © Marcia Jessen, 2017