Ärger im Paradies

Ernst Lubitsch had a tendency towards pushing the boundaries, whether it was the boundaries of the Production Code or the boundaries of one's stomach, as it's splitting from laughing at his films. "Trouble in Paradise" is one hundred percent, absolutely, no exception to this rule. This film has got to be the greatest film comedy of the 1930's (toss up between this and "Bringing Up Baby" ... perhaps??). The situations, the dialogue, the characterizations, the rich sexual undercoating ... FANTASTIC!!!

Once, "The Lubitsch Touch," was as well known as Hitchcock's reputation as "The Master of Suspense."

"Trouble in Paradise" is Lubitsch's unqualified masterpiece. This pre-code sophisticated comedy epitomizes the European attitude toward sex in its very first scene between Hebert Marshall and Miriam Hopkins. Marshall reveals he has stole Hopkin's garter without her knowing it and she leaps in his lap. She checks -- at the dinner table no less -- realizes it is gone and with the admiration of one thief for another leaps into his lap. "Darling!" she says. No one has to guess what she has in mind, although it is all done with the wit and brio that the "Lubitsch Touch," refers to.

It's great to have this film readily available and the DVD version includes an informative and enlightening commentary (Marshall only had one leg and his lurching walk made a certain speedy cutting necessary that helps give the film it's light, speedy quality).

Lubitsch also made "Shop Around the Corner," remade by Nora Ephron as "You've Got Mail," and "Ninotcha," with Greta Garbo. His musicals with Maurice Chevalier and Jenette MacDonald, such as "The Merry Widow," are also worth seeking out.

Gaston Monescu likes to travel incognito, in the shadows likes to hide, unseen like a thief mosquito, if you have something you prize, he will snatch it from your eyes, with his partner by his side, a great combo.

Made in 1932 but just as accessible and as enjoyable all these years later, as a pair of classy villains seek to defraud a wealthy lady of the contents of her safe by gaining her confidence and guiding her in the directions of their deceit. Plans go a little awry as profits are palmed for passions and one of the antagonists loses focus of the bounty, and with Kay Francis as the distraction it's no wonder. Great performances all round from a director who would go on to make some rather impressive films in the future.

...and Ernst Lubitsch at his zenith. First things first: thank you to TCM for showing this recently. Of course I taped it, and of course I've practically worn the tape out by now, a month later.

Point #2: something is terribly wrong in Paradise if the peak era of his work, 29-33, remains in shadow today. Where are the VHS/DVD releases of these wonderful films? Nowhere that I can find them; hopefully the good folks at Turner will continue reviving the early sound Lubitsches. I waited 25 years to see this one again, and the wait was not in vain. Those 25 years put a bit of snow on my roof, but they also allowed me to drink in the ambrosia that is this film with a bit more appreciation than I had at 16. And what intoxicating ambrosia it is! Script, performances, directorial vision are all exquisite. The leads are inspired (oh, for a night with Kay Francis!); the supporting players, expertly calibrated farceurs. The utilization of music as ironic counterpoint to the visuals rivals Clair; the title song, sung over the opening credits, will make your heart race, and break, at the same time. And the look of the film (Art Deco, lovingly handrubbed to a burnished glow) will linger with you forever.

Again and again, Lubitsch pulls rabbits out of hats: scenes like the deepening of Herbert Marshall and Kay Francis' relationship from business to pleasure 'seen' in a clock face are emblematic of what makes this such a special film. Its story is slight, frothy, very nearly silly; yet Lubitsch's knowing observation of small, telling details makes it magical. TROUBLE is not a timeless film, anchored as it is to a very specific time (Long Ago) and place (Far Away), which only deepens its charm and its seductive tugging on the audience's sleeve. I've watched it three times in a night, and three times more the following night - not behavior I usually exhibit. But the siren call of its lively, civilized wit is such that I'm hitting 'rewind' the moment it ends - I don't want to break the spell and return to reality just yet. As fertile as the preCode era is, as many classics as that golden period continues to yield up to those willing to discover them...TROUBLE IN PARADISE is the most glorious of them all.

A grand, grand film from the master of early, somewhat daring comedies! Delightful is the word to describe this gem which sparkles with great dialogue and pure elegance. The master of the suave sophisticate, Herbert Marshall, is wonderful as the gentleman thief. This type of part was his forte in his early career and he was ill-used later on by Hollywood. Nobody looked better in evening dress or could deliver a double entendre with such perfection. Kay Francis is her soigne best as the target of the jewel thieves.....although she could not pronounce her "r"s, she was the personification of chic and designers had a field day dressing her for her films. Miriam Hopkins may not have been the best choice for the part of Marshall's partner in crime; she never seems quite in sync with the rest of the cast. She had a reputation for being difficult and it shows just a bit here.....but that does not take anything away from the overall excellence of this movie. The censors had not cracked down in 1932 like they would in the coming years and this allows for some risque situations (for the time) which are pure delight. "Trouble in Paradise" is a true gem which, although somewhat dated, further enhances the Lubitsch reputation for quality film making.