Le lieutenant souriant

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.

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.

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.

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.