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The sole directorial effort from Robert Riskin (the talented screenwriter behind many of Frank Carpa's best films), WHEN YOU'RE IN LOVE is one of many films that attempted to re-create the success of 1934's surprise hit ONE NIGHT OF LOVE. This film boasts the advantage of featuring opera singer Grace Moore, the star of the previous film, in the lead role, yet it never really seems to amount to much and was not well-received by audiences upon it's original release. The film's basic premise (famous Australian opera singer "hires" an American man to pose as her husband in order to enter the country) is a workable enough set-up, but the picture fails to generate much momentum or interest. Riskin does a respectable job for a first time director, but displays a poor sense of pace and allows the picture to become plodding.

Moore is acceptable as the film's Diva (she never really commands the screen, but she has a odd sort of like-ability) and Cary Grant is in fine form as her "rented" mate, but they are playing stock characters who only seem to behave in the manner that is necessitated by the script. Their relationship suffers numerous ups and downs throughout the course of the film, but I never really cared whether they ended up together and that is a serious determent for this type of picture. The film is also marred by far too many piecing musical numbers that seem to exist only to pad out the film's runtime and serve as a defacto showcase for Moore's shrill voice (even "Minnie the Moocher," which is often referred to as the film's highpoint, is virtually unlistenable). The film's true saving grace is Aline MacMahon in a fresh and intelligent performance as Moore's assistant - MacMahon's good-natured portrayal is a minor comic gem surrounded by a sea of mediocrity.

I quite enjoyed this as something to watch in the afternoon with a cup of tea and a biscuit. This makes me sound about 110 but I'm only just over 40 LOL Nice story - I've got Skyplus so I could fast forward over the horrible singing. The Opera Star's side kick was definitely the best part of the film, she was smart and the screen lit up whenever she was in a scene.

But in the scene where all the kids come down from the Music School upstairs to listen at the feet of the 'Queen' - was that Shirley Temple or not? It looked like her to me, did they have look alikes in those days? Not something to watch if there's anything good on instead.

Robert Riskin, who wrote the script for this movie, also wrote the scripts for Platinum Blonde (1931), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), You Can't Take It with You (1938), Meet John Doe (1941), and many other of the great movie classics of the 1930s. If I start by listing those masterpieces, it is to wonder how he could have written something as poor as this script. Because it is the script, and Riskin's sole turn at being a movie director, that sink this movie. The first part is very poor, the middle not as bad, but then the end, with the god-awful music festival done in neo-Grecian art deco, destroys any chance of actually respecting this movie. HOW could anyone have thought that the last number, a piece that talks about a "simple song" but is staged with a cast of hundreds in elaborate 18th century ball gowns and what not, would not look ridiculous? It's a shame that the script and direction are so often so poor, because there are good things in this movie.

Moore's singing of Sibonay early in the movie is magical. It's a great number, brought off wonderfully by Moore at her very best. The staging isn't great, but it doesn't sink what is really a great five minutes.

There is also a very effective 5 minutes dramatically when Cary Grant and Moore sit before a fire in his cabin. The scene comes off as very natural, and very convincing - one of the few such natural moments in the movie, unfortunately.

Several of the other musical numbers, done very simply, are very moving. The song Moore sings to the children about the wooden doll, her song out in nature (which then gets travestied as the finale at the music festival), her singing of a folk-song while lying on her back in the cabin. And while she was no Cab Calloway, she does a nice job with Minnie the Moocher.

But Riskin's direction kills a good performance of Shubert's Serenade, done, for no apparent reason, in neo-Grecian art-deco. And Moore's performance of Vissi d'arte from Tosca under the opening credits is never explained and leads nowhere.

The dramatic crux of the movie happens only because Moore's character fails to explain to Cary Grant's why she has to sing at the music festival. It makes no sense that she would not have explained this.

So, in summary: there are some golden nuggets in this movie, mostly the musical numbers - but not all of them. Most of the rest of it is poor.

Very definitely inferior to Moore's other movie from 1937, I'll Take Romance, which suggests that Moore could have made some good movies if she had had better directors and material.

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.