Andrew Sarris has called it "a tender love story in its silent passages...[but] crude, clumsy and tediously tongue-tied in its talkie passages." Charles Higham stated that although "its visual style, initially attractive, becomes a monotonous succession of busy shots, dissolving over each other in a perpetual flurry...[but] the films charm is real." Fejos's third Hollywood film was The Last Performance, another box office success for Universal Studios in 1929. The film starred Conrad Veidt as a stage magician who falls in love with his assistant and was another part sound, part silent film. Later that year Fejos began production on his largest and most ambitious film: Broadway, based on the hit stage production produced by Jed Harris, George Abbott, and Phillip Dunning. Fejos was given a $1 million budget, most of which was spent on the huge cubist nightclub set and on a 28-ton camera crane, which was the largest and most versatile crane built up to that point. The film starred Glenn Tryon and Evelyn Brent. When released, the film was only a modest success and Fejos considered it a failure. It was remade by William A. Seiter in 1942. Film critic Miles Krueger said that "the images of the Paradise Club and the huge musical number (Final in Technicolor) have become basic screen literature." Fejos then began filming the musical Captain of the Guard (AKA Marsellaise) in 1930, the year he became an American citizen. During the shooting of an ambitious sequence with over 300 extras that depicted the storming of the Bastille, Fejos fell from a high scaffolding and suffered a concussion. It took him six weeks in bed to recover and John S. Robertson finished the film, with Fejos receiving no screen credit. He then worked on King of Jazz, which was officially directed by John Murray Anderson. Fejos became angry with Universal that once again he did not receive screen credit for his contributions to the film. His frustration with Universal and Hollywood reached its peak when he was not hired to direct All Quiet on the Western Front and Fejos broke his contract with the studio. He signed a contract with Metro Goldwyn Mayer shortly afterwards, but only directed the German and French language versions of The Big House. European career In 1931 Fejos accepted an invitation from Pierre Braunberger to direct early sound films in France and left Hollywood for good. Fejos complained