L'allegro tenente

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.

Once more, thanks to TCM, we get the chance of watching this wonderful, charming, early talkie by the master of sophisticated comedy and innuendo, Ernst Lubitsch.

This is an absolutely entertaining and absorbing tale of a carefree, debonair Viennese Lieutenant, who falls for a violin player, thus finding his perfect sexual counterpart, but because of circumstances, becoming married to a prudish, mousey, princess.

Chevalier is the perfect "Smiling Lieutenant" of the title, singing in great from with his heavy trademark, french-accent. Colbert, in an early stage of her career, looks very different from her definitive trademark "Look", she acquired afterwards.....but is equally carefree, joyous and flirtatious. Miriam Hopkins is excellent as the princess, who falls madly in love with Chevalier, and who will do anything to have him!!

Just as it happened with "Trouble in Paradise", I really hope that this gem, as well as "Design for Living", "Monte Carlo", "The Love Parade", "Love Me Tonight", "One Hour With You", will become available on DVD, in decent form, as they deserve, as primary examples, of the long gone Pre-Code Era!!!

Maurice Chevalier is way too hammy in this pleasant comedy. Claudette Colbert shines as the bad girl with a violin. Colbert displays her usual breezy charm AND a nice singing voice. But it's Miriam Hopkins who steals the film as the dowdy princess turned jazz baby. Colbert and Hopkins sing a delightful "Jazz Up Your Lingerie" number which Hopkins reprises on the piano, replete with frizzed hair and cigarette dangling from her lips as she pounds out a snazzy-jazzy version of the song. Hilarious! Hopkins rarely got to show her comic side. She was also funny in Wise Girl. Smiling Lieutenant also has Charlie Ruggles, Elizabeth Patterson, and the delightful George Barbier as Hopkins' papa. Good fun. Watch it for Hopkins and Colbert!!!

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.

If you like cotton candy, or maybe a marshmallow sundae with sprinkles and a cherry on top, this picture will be among your favorites. What could be more appealing than a Lubitsch romantic comedy with its characteristic sly innuendos? Perhaps one that is set in a palace, with uniformed guards, ladies-in-waiting, and pageantry that no one takes seriously. More appealing than that? All of the above, with music. Want more? The casting is perfect: a flirtatious, mugging Chevalier; a young and nicely naughty Claudette Colbert; and most notably Miriam Hopkins effectively playing the extremes - a prim, virginal innocent who learns the ways of a vamp in order to hold her man. As her father, George Barbier contributes impressively, too. Great fun; one of Lubitsch's best.