Uma Hora Contigo

Director Ernst Lubitsch made some marvelous films during the 1930s. Because they were so deftly created and the films seemed so magical and perfect, many have dubbed these films as having "the Lubitsch touch". Well, ONE HOUR WITH YOU does have many of these touches, but to me it just didn't have the magic that his best films, such as TROUBLE IN PARADISE, had--though it is still a very good film.

The film begins with a deliriously happy married couple, Maurice Chevalier and Jeanette MacDonald. They defy the stereotype that married people are dull and their love wanes--that is, until MacDonald's best friend, Mitzi (Genevieve Tobin), arrives. Mitzi is man-crazy and again and again Jeanette foolishly forces her husband to be with Mitzi alone. Eventually, he succumbs to her horny overtures--though the film seems to imply they didn't go very far. In retaliation, Jeanette grabs the first pipsqueak she can find (Charlie Ruggles) and sows a few (a very few) oats of her own. Can this couple survive? Will they live happily ever after? Sure, you betcha.

This film is a musical. While none of the numbers are especially memorable and occasionally Ms. MacDonald hit some notes that made my skin crawl, the songs were very good--very light and simple with excellent lyrics. In addition, at times the dialog was spoken in rhyme--though this confused me. At times, they rhymed beautifully (almost like a Dr. Seuss book) but then the dialog became much more normal. Later, they started rhyming again. I think they should have either stuck with this or dropped it altogether. As it was, it just seemed like they lost interest in this and forgot to keep rhyming. One thing I really did like, though, was how Chevalier occasionally broke character and spoke to the camera--like he was having a dialog with the audience. This was clever and the film had enough good moments to recommend it, but still it doesn't rank among the director's very best.

By the way, I saw this on DVD but was saddened to see it only had the American version. According to IMDb both MacDonald and Chevalier also filmed a French version at the same time, as Ms. MacDonald was apparently fluent in French!

ONE HOUR WITH YOU (Paramount, 1932), directed by Ernst Lubitsch (co-directed by George Cukor), premiered on American Movie Classics March 11, 1993, as part of its annual film preservation. Prior to that, it was shown on the Movie Channel in 1991. A musical comedy, it reunites Maurice Chevalier and Jeanette MacDonald, stars of THE LOVE PARADE (Paramount, 1929), offering them a rare opportunity playing husband and wife from start to finish, and an amusing couple at that.

As for the plot: Chevalier plays Doctor Andre Bertier, happily married man, who comes upon the flirtatious but much married Mitzi Olivier (Genevieve Tobin), who turns out to be his wife, Colette's (MacDonald) best friend in town for a visit. Mitzi's no-nonsense husband (Roland Young) suspects his wife for infidelity and has hired Detective Henry Dornier (Richard Carle) to follow her. While Mitzi makes a play for Andre, Andre's best friend, Adolph (Charles Ruggles), best man at his wedding, does the same for Colette. Situations become involved when Andre finds himself accused of having an affair not with Mitzi but with Mademoiselle Martel (Josephine Dunn) and later on, Professor Olivier visiting Andre and naming him as correspondent in his divorce trial.

Songs by Oscar Struss and Leo Robin, with interpolated music by Richard Whiting, include: "But Spring is Here" (introduced by George Barbier); "What a Little Thing Like a Wedding Ring Will Do" (sung by Chevalier and MacDonald); "We Will Always Be Sweethearts" (sung by MacDonald); "Three Times a Day" (sung by Chevalier and Genevieve Tobin); "One Hour With You" (sung by Donald Novis, Tobin, Charlie Ruggles, MacDonald and Chevalier); "It Was Only a Dream Kiss," "We Will Always Be Sweethearts" (Chevalier and MacDonald) and "What Would You Do?" (Chevalier).

This pre-production code comedy with singing was previously done in the silent era as THE MARRIAGE CIRCLE (Warner Brothers, 1924) starring Adolphe Menjou, Florence Vidor, Monte Blue and Marie Prevost, also directed by Lubitsch, which was distributed on video cassette in the 1990s. This remake was nominated for an Academy Award for Best Picture of 1932, but in spite of its popularity, this is nearly a forgotten movie. While Jeanette MacDonald is remembered mainly for her costume operettas at Metro-Goldwyn-Mayer and singing duets with Nelson Eddy in their eight films together spanning from 1935 to 1942, ONE HOUR WITH YOU offers a different Jeanette MacDonald, singing contemporary songs in modern day Paris. At times she's very funny which is a shame that she never was given the opportunity to appear in a "screwball" comedy, but this, being a "drawing room" or "sophisticated" comedy will do. Risqué dialog all around adds to the amusements, with Chevalier occasionally narrating the story to the audience, looking directly into the camera in the way comedian George Burns did on his "George Burns and Gracie Allen Show" on television back in the 1950s.

While a delightful 78 minutes, the next Chevalier and MacDonald musical, LOVE ME TONIGHT (Paramount, 1932) ranks the very best of their four collaborations as a team. Available on DVD as of 2008, and on Turner Classic Movies where it premiered February 23, 2010. (****)

In the second of the four Chevalier - MacDonald films the leads are a married couple (Chevalier is a upper class doctor, of all things) who are happy together. In fact they are first seen preparing for their anniversary party. Both have friends who can spoil this. Chevalier's closest friend is Charlie Ruggles, who secretly loves MacDonald (but who is usually too nervous or intense to get anywhere with her - if she were interested). MacDonald is close to an old school friend, Genevieve Tobin, who is a continuous flirt (one can even consider her a nymphomaniac). She is married to Roland Young, but their marriage is on the rocks because of her affairs (his too - he wants to marry their maid). So MacDonald invites her friend into her home, and Tobin soon is being coquettish towards Chevalier. When she returns home, she asks him to see her on a professional (i.e. medical) problem, and proceeds to try to seduce him. This upsets Chevalier, who tries to remain faithful to MacDonald, but she (blind as she is to what Tobin is doing) insists he help her friend. Young is delighted. He is closing in on a divorce with Tobin. Finally, being weak, Chevalier gives in. MacDonald learns of this, and turns to Ruggles (!). And the film is set for some kind of resolution of these problems in sexual politics.

The music is best recalled for the title tune, "One Hour With You". It would pop up for years in Paramount film musicals (in DUCK SOUP, it is played in the sequence when Harpo Marx is doing a "Paul Revere" ride to rally the countryside, only to stop at his girlfriend's for "one hour with her."). It also appeared as the national love song of Klopstokia in MILLION DOLLAR LEGS, with Jack Oakie singing the words, "Woof bootle gik..." instead of the original words to it. However, the number that gets me is the one mentioned in the "Summary" line, which Chevalier sings to explain to the audience his dilemma regarding his loyalties to his wife versus the fascination of the beguiling Tobin. In all of his films in the 1930s he would sing some tune that dealt with the heroine or another woman: "Mimi" in LOVE ME TONIGHT is an example, as is "Louise". "MITZI" is another example of this.

The Lubitsch touch is shown throughout. One of the best moments is when Ruggles is talking to MacDonald about attending a party at their home, and learns it is a dinner party, not the costume party he is dressed for. He turns to his butler, and demands to know why he told Ruggles it was a costume party. "Oh sir," says the giggling butler, "I so wanted to see you in tights!" With bits like that sprinkled about, this film is a small treasure.

Ernst Lubitsch (with some "assist" from George Cukor) directs this charming and witty farce which gives Maurice Chevalier a chance to steal the film from his very talented co-stars, including Jeanette MacDonald and Genevieve Tobin.

His rendering of "Oh, that Mitzi!" (he breaks the fourth wall to speak directly to the camera--as in "Gigi" years later), and "Three Times A Day" remain the highlights of the film. The story itself is pure fluff, a tale about a happily married couple who each have a fling but remain faithful to each other for the finale. Of course, it's all pre-code morality done with style and wit.

The sprinkling of songs also includes some rhyming dialogue, always a clever mix of words and music. Jeanette's voice sounds tinny here and there's no use made of her operatic range as the songs are simple and sweet, but she's charming and appealing as Chevalier's happily married wife. It's hard to see why she couldn't suspect that her best friend Genevieve Tobin would want to seduce her husband when the woman is such an obvious flirt. But of course, the story is strictly fluff and full of many improbable moments. The rather abrupt ending seems an awkward way to resolve the whole marital situation.

Worth viewing to watch Maurice Chevalier deliver one of his most satisfying performances, especially good when addressing the audience with his problems. The catchy title song by Richard Whiting gets some nice singing moments from several players.

In the second of their four films together and the only one in which they start out as man and wife, Maurice Chevalier and Jeanette MacDonald play a happily married couple who face a comic crisis in their marriage when Jeanette announces she's going to be visited by an old friend in Genevieve Tobin in One Hour With You.

What she doesn't know is that Tobin and Maurice have had a flirtatious rendezvous in one of those legendary speedy Paris taxi cabs. Tobin as Mitzi is one saucy wench whose marriage to Roland Young is coming to an end. The only question remaining is who will be caught in a compromising position first for the sake of the alimony.

The whole thing is directed with typical continental charm by Ernest Lubitsch replete with various things in the film identified as the Lubitsch touch. My favorite of those is when Genevieve gets Dr. Chevalier to make a house call, you see a shot of her feet kicking off her shoes and then wiggling in anticipation.

Oscar Straus and Leo Robin wrote most of the music, but the title song was written Richard Whiting with lyrics by Leo Robin. It's introduced during a nightclub scene by radio singer Donald Novis who occasionally did film and stage roles and then sung by nearly all the principals in the cast. Jeanette made a good selling RCA Victor recording of it.

Maurice Chevalier got to sing Oh That Mitzi which both advances the plot of the film as he tells of his dilemma between his wife Colette{MacDonald), but Oh That Mitzi and is a number perfectly suiting his style. It was part of his nightclub act forever after.

Genevieve Tobin is great as the saucy Mitzi and filmgoers probably know her best as the dowager Mrs. Chisholm who was held captive by Duke Mantee in The Petrified Forest. Tobin had to be one talented lady, that's quite a difference in parts between One Hour With You and The Petrified Forest.

One cannot ignore Charlie Ruggles a rather timid suitor who is so hoping to get Jeanette on the rebound from Maurice. He's got some very funny scenes with her.

One Hour With You is one of those sophisticated comedies depicting a world gone by. I'm not even sure in Europe if they still dress in tuxedo for dinner.