Der lächelnde Leutnant

This film is sheer perfection - the Lubitsch Touch is here in spades. This must be one of the most charming films ever made, and it is technically brilliant too for the early talkie era. A fabulous show-case for the talents of three new Paramount stars - Maurice Chevalier has never been better, Claudette Colbert is buoyant - and Miriam Hopkins is an absolute marvel as the innocent princess. When will she be given the adulation she deserves - certainly one of the best actresses of her generation. And George Barbier is also brilliant as her father.

This film could only have been made in the pre-code days - it is very very naughty. The mating pillows is only one example of many sexual innuendos and symbols. But it is all too charming to be offensive to even the most prudish person. One of the best films of the early Thirties.

In that era we rather misleadingly call "pre-code", infringements against the production code (which was fully in existence, just lacking in enforcement) came in all shapes and sizes. While some producers titillated their audiences with tentative nudity or shocked them with frank portrayals of infidelity and prostitution, others used delicate but potentially more flagrant transgressions of innuendo. It was at Paramount studios, in the pictures of Ernst Lubitsch, that innuendo was taken to astounding new heights of creative expressiveness.

Of course, Lubitsch was and still is known for his tact in implying the unspoken, but he did not operate in a vacuum. The Smiling Lieutenant was his first collaboration with screenwriter Samson Raphaelson, and while Lubitsch was no doubt the driving personality behind his famous "touch", it seems Raphaelson (who would have a hand in most of the director's subsequent hits) thought enough along the same lines to make the pictures he wrote by far the most "touched". So while Lubitsch gives us visual clues such as the young lady using a secret knock to get into Maurice Chevalier's room, followed by a close-up of a light going on and off, it was probably Raphaelson who contributed some of that witty wordplay that adequately sets the tone. My favourite example of this has to be Chevalier's reply to Miriam Hopkins asking if married people winked; "Oh they do, but not at each other!" And then there are Clifford Grey's lyrics, which playfully delve into some of the more inventive innuendo, most memorably in "Breakfast Table Love".

Chevalier is the perfect star for this kind of understated ribaldry. He has a "touch" of his own, in the way he smiles and raises his eyebrows, that curiously yet alluring treads the line between lecherous and charming. His appearance here, after the disappointing Monte Carlo with Jack Buchanan, demonstrates how important the right kind of actor is for such a role. If Jack Buchanan invited you to breakfast, you'd think he was making a polite offer to pop round in the morning for tea and toast. When Maurice Chevalier invites you to breakfast, there is absolutely no doubt that he wants you to spend the night, and frankly doesn't care what you fancy eating the next morning! Claudette Colbert makes a great screen partner for Chevalier. She is not quite the talented singer that Jeanette MacDonald is, but she has a slinkiness to her that suits the story's undertones, and would later be exploited by Cecil B. DeMille in Sign of the Cross and Cleopatra. This may be one of her earlier roles, but she shows a great confidence and maturity about her that is perfect for the part. The third corner of The Smiling Lieutenant's love triangle is Miriam Hopkins. Hopkins is sometimes mistaken for a bad actress. This is not the case. She is in fact an excellent ham, as were Charles Laughton and John Barrymore, by no means a subtle or realistic player, but nevertheless utterly captivating in the right role. She is excellent here as the naïve and frumpy young princess, displaying her finest comedic sensibilities.

The Smiling Lieutenant contains only five songs, far fewer than previous Lubitsch musicals. With the exception of "Jazz Up Your Lingerie", the numbers also seem far less integral to the narrative than they were in Monte Carlo (which by the way is the best in terms of musical direction and integration, albeit the worst in every other respect). And yet this is a very consistently musical production. In 1931 it was still unusual for pictures to feature incidental music, and ironically the early talkies were often genuinely silent whenever the actors stopped talking. The Smiling Lieutenant however is scored almost from its first minute to its last. Contrary to the later practice of writing all music after filming wrapped, I suspect the incidental scoring may have been prepared beforehand and even played on the set. In particular Claudette Colbert's poignant abandonment of Chevalier seems almost choreographed to its sweeping string arrangement.

When such backing scores became commonplace, they sometimes actually spoiled a picture's integrity, blaring out emotional cues for each scene when none was required. But for The Smiling Lieutenant it is a positive bonus, providing a light and lyrical setting for the many wordless moments. And this of course is all the better for those neatly constructed vignettes of unspoken innuendo, sly winks at the audience that are so fabulously clever they are a delight in themselves.

Ernst Lubitsch came to Hollywood in the years before the "Code", or censure, if you will, that plagued all artists working during that era. This is a clear example of what could be done in the movies when the scissors of the censor were not in the picture, no pun intended.

If you haven't seen the film, please stop reading now.

This film is based in an operetta. It's light, it's frothy, it's naughty, and it's a delight to watch it more than sixty years after it was made. Mr. Lubitsch was a genius in creating films that bore his signature like no other director of the time. His European background is constantly in display. He had a sensitivity for giving the viewer a glimpse of that old world he had left behind when he emigrated to America.

Mr. Lubitsch worked with the best actors of the times. His choice of Maurice Chevalier, or maybe it wasn't his decision, but the studio's, pays handsomely in this movie. Mr. Chevalier brought his own style to the American cinema and he can be a bit strange in the way he reacts in front of a camera, but in spite of his school of acting, he went to become a favorite in this country too.

Mr. Chevalier plays the bon vivant lieutenant in the Austrian army who has a roving eye for any beautiful woman that crosses his path. He finds that, and much more with Franzi, the violinist in charge of an all women's orchestra. It's clear what attracted Niki to Franzi; she is a beauty who aims to please. There is no subterfuge in the relationship; Franzi moves right in into Niki's apartment. This couldn't have been done in the movies later on, when the Hays code came into being.

Claudette Colbert had a lot of charisma. In "The Smiling Lieutenant" she shows why she was a star in her own right. Ms. Colbert and Mr. Chevalier made these lovers look right. Nothing is done in the open and everything is done with great taste, although the viewer can guess what's really happening without too much guessing.

To complicate matters, our lieutenant is fancied by a dowdy Princess Anna on a visit to Vienna. Since honor is at stake, Niki marries her, but his heart is left behind with Franzi. Niki doesn't want any part of this woman who has been imposed on him.

When Franzi and the orchestra make an appearance in the neighboring country, Niki discovers her and they go back to their trysts whenever they find the time, to the chagrin of the princess. Franzi realizing she could never get Niki without causing a great scandal, gives in, and in the process, transforms the "ugly duckling princess" into a lovely swan. Miriam Hopkins playing Anna ends up with the man she wanted. The final scenes suggest that yes, they will have their fun after all.

The set decorations of the film are breathtaking. The palace scenes, the costumes, take the viewer to the Austro-Hungarian empire. This film will please anyone looking for an easy time at the movies thanks to Ernst Lubitsch.

There is little to add to the praise this classic film has already received from professional and amateur critics and viewers. It is an object lesson in the art of filmmaking, cleverly conceived and plotted, gorgeously photographed, well acted by a colorful cast, constantly fresh and joyous, inventive and artful. The dialogue is brilliant, especially when it blossoms with playful double entendres. The mise-en-scene is filled with the engaging formalities so beloved by its director Ernst Lubitsch, and visual cues giving wordless information about plot and character. The contrast between the females, Miriam Hopkins and Claudette Colbert, is deftly arranged. Though Chevalier has charm to burn, his thick French accent does occasionally blunt the effect of the dialogue. But his light comedy skills are otherwise formidable and in conjunction with Lubitsch's staging and framing add up to cinematic magic. Colbert equals and even surpasses him with her own skill and charm. She gives particular oomph to her songs, acting them fully. Hopkins can be a grating performer but here tones it down. Her piano playing is impressive, whether it's real or not.

Lubitsch's third great musical is perhaps his most immoral, along with "One Hour With You". The screenplay by Ernest Vajda and Samson Raphaelson is replete with the occasional Lubitschian double entendres and naughtiness. The film often recalls the lilting grace of Lubitsch's "The Love Parade" but it also looks ahead to the ironic romantic triangle of Lubitsch's lauded masterpiece "Trouble in Paradise".

Here, Chavalier's Lieutenant Niki is torn between an aristocratic princess Anna (Miriam Hopkins) and a working class violinist Franzi (Claudette Colbert), the same way Herbert Marshall's Gaston in "Trouble in Paradise" must choose either Kay Francis's wealthy Madame Colete or his fellow thief, Miriam Hopkin's Lily. But there is a difference. In "Trouble in Paradise", Gaston abandons Mme. Colete for Lily, but in "Smiling Lieutenant", Chevalier unconditionally accepts his forced romance with Anna. At first, Niki is happily fond of Franzi who is introduced to him by his friend Max (Charlie Ruggles, who played one of rejected suitors in "Trouble in Paradise"). But ultimately he is forced to marry princess Anna of the neighboring kingdom of Flausenthurm. The love scenes between lieutenant Niki and Franzi are incredibly charming and flavorsome, while the marriage of Niki and Princess Anna seems unpleasant and uninspired. But the film's charm or brilliance lies in its joyous musical numbers and songs, and its ironic immoral look at its characters. Irony and cynicism are key to understanding Lubitsch's art, especially his works of the early 30s, and "Smiling Lieutenant" is no exception. There is, for instance, an irony and immorality in the lovely number "Jazz Up Your Lingerie", as Princess Anna tries to emulate Franzi in order to look sexy for Niki.

"The Smiling Lieutenant" remains Lubitsch's most underrated musical. Not many people have seen it. It deserves to be seen and compared with Lubitsch's later works, particularly "Trouble in Paradise."