When You're in Love

When You're In Love will forever be known as the film where Grace Moore shed her opera image and did a low down version of Minnie the Moocher. For that and for the fact that she got Cary Grant as a leading man who in the end would way eclipse her in movie star power. Grace was on the decline in Hollywood and Grant was rising fast.

The film was produced, written, and directed by Robert Riskin, his only directorial credit. Riskin is primarily known as the screenwriter collaborator of Frank Capra in some of his most memorable films. He also had been romantically involved earlier in the decade with another soprano star Jeanette MacDonald.

In fact the Minnie the Moocher sequence was inspired I'm sure by Jeanette's turn at jazz in Rose Marie the year before where she sang Some of These Days.

Though it didn't appear so When You're In Love was also a milestone film for Cary Grant even though he was distinctly second billed to Miss Grace Moore. This was his first film after leaving his nurturing studio of Paramount. For the next fifteen year or so, Grant alternated primarily with RKO and Columbia as employers of his free lance services.

The plot borders on the silly. Grace Moore is an Australian opera star who overstayed her work visa in America and was deported to Mexico where she's languishing waiting for an immigration quota number. Her shrewd manager Aline McMahon hits on the idea of marrying an American to get back in the country immediately.

Well if you're going to get married you can't do better than Cary Grant for any purpose. He's a penniless artist and also would like to leave Mexico, but he does have some rather interesting ideas on the relationship himself.

Moore's character is no doubt borrowed from real life Australian opera singer Marjorie Lawrence whose life story would be told in the MGM film Interrupted Melody. Lawrence did marry an American, but not for her immigration status.

The subject matter of the film would be done in a far more serious vein by Paramount in 1941 in Hold Back The Dawn with Charles Boyer and Olivia DeHavilland. Those folks's immigration problems were far more real than what we see here.

Grace Moore has her usual mix of opera and concert material to sing in When You're In Love. In addition Jerome Kern and Dorothy Fields also contribute two numbers as well.

But it's Minnie the Moocher, that red hot Hoochy Coocher for which this film will always be known. What must Cab Calloway have thought?

So-so musical romance starring Grace Moore as an Australian opera singer who marries American artist Cary Grant to get back into the United States for an important concert. He tries to win her over with predictable results. Not great stuff but pleasant enough I suppose. Notable for being the only movie directed by screenwriter Robert Riskin (he also wrote this). Also worth mentioning for Moore fans that, in addition to a few opera numbers, she sings "Minnie the Moocher" here. Let's just say it's not likely to be the best rendition of that song you've ever heard. Really, this is one for Grace Moore fans more than Cary Grant ones. He does perfectly fine with his role, don't get me wrong. He's charming and likable as usual. But it's just kind of a dull part for Cary. The supporting cast is nice but greats like Aline MacMahon and Thomas Mitchell are wasted in cardboard cut-out roles. See it for Grace or if you're a Cary completist. Or, heck, see it if you're really into opera (I'm not).

I really enjoyed this movie because I just sat back and listened. Dissection is no fun in film. This is a breezy romp rather than ART! I laughed and had a good time. I enjoyed Cary Grants early performance and adored Grace Moore's singing. Ailene McMahon was a regular Eve Arden pre the spunky Eve herself. The odd part is that Grace plays an Australian opera singer with her American accent while Cary Grant plays an American with his English accent. Miss Moore needs to find a way into the country since she doesn't have permission to enter the states. The border guards must have been much tougher in the 1930's! If you can get your hands on this film just sit back, relax and enjoy.

Grace Moore was a very odd leading lady in Hollywood. She was only moderately pretty and her biggest asset was her operatic songs...and Columbia Studios tried for several years, unsuccessfully, to make her a star. However, her career in Hollywood only lasted nine films until they gave up. Don't feel sorry for her, however, as Moore was a very accomplished singer and was world famous for her performances...not bad for a girl from Tennessee!

This is one of Moore's last films and it's pretty much the same sort of formula they'd use in the next movie, "I'll Take Romance"...though this later film is a bit better. In this case, she and Cary Grant have an on again off again relationship until ultimately she realizes what a fine catch he is and they live happily ever after. The story is predictable but could have worked if she didn't keep breaking into song. These are NOT the normal plebeian sort of songs most folks enjoy but operatic...and they do NOT age well. In fact, they make the film a real chore to finish. The only reason I did is that I would like to one day say I've seen all of Cary Grant's films...even the bad ones. And, sadly, this one is pretty bad.

The premise for 'When You're in Love' had a lot of potential, Grace Moore was a likable singer/actress who achieved some success as a film star but that was short-lived, Cary Grant was one of the cinema all-time greats and Robert Riskin was a brilliant screen-writers.

Any film also, and there's plenty of them around, that tries to give opera (a medium that has been a lifelong passion, but sadly its appeal has become generally increasingly more limited over the years) more popularity and make it more accessible is worthy of some credit. Somehow however, despite some very good things, 'When You're in Love' falls short of its potential.

Moore herself is sexy and a very likable and charming screen presence. She also sings very well, especially in "Sibonay". Though "Vissi D'Arte" doesn't sound right for her voice (prefer a bigger and richer voice for Tosca) and doesn't feel right within the film either. 'When You're in Love' doesn't see anywhere near the best of Grant, but his customary urbane charm can be seen in bucket loads and he and Moore do share a sweet chemistry. Aline MacMahon comes very close to stealing the film, her good-nature and sass reminding one of Eve Arden.

'When You're in Love' is beautifully shot and sumptuously designed. The music is wonderful, whether pre-existing or written especially for the film, and along with Moore the star of the film, with "Sibonay", "Your Song" and "Minnie the Moocher" coming off best. Choreographically, "Minnie the Moocher" is energetic and enormous fun, by far the best musical number in staging and choreography, and Moore certainly does let her hair down. The scene in the cabin is a lovely scene too.

On the other hand, Riskin's talent as a screen-writer is not matched at all by his direction, showing that there was a reason as to why this was the first and only time in the director's chair. Stylistically it's fine, but too much of it dramatically and pulse-wise screams of inexperience and too many of the musical numbers are staged indifferently or bizarrely (so much so that the exuberant "Minnie the Moocher" feels overblown in comparison), Schubert's "Serenade" is an insulting mix of both especially. The story seemed like it would work on paper, but too much of it is bland and implausible with the final act and ending taking a turn for the worse in lack of momentum of ridiculousness.

There are scenes and decisions that begged for explanation as to why they happened, especially why "Serenade" was staged the way it was, the placement of "Vissi D'Arte" and much of the pivotal romance, but they never came. While the chemistry itself is sweet, 'When You're in Love' is written in such a flat way (no sparkling bubbles here in this script, just a lot of substance-less froth that becomes dull, strange and too sugary) that one is never fully invested in the romance itself.

In conclusion, works well as a Grace Moore vehicle and anybody wanting good music will not be disappointed. There are far better examples of Grant and Riskin's talents elsewhere other than here however. 5/10 Bethany Cox