Une heure près de toi

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. (****)

Ernst Lubitsch was a great director who very rarely made a dud. While One Hour With You may not be as good as The Merry Widow, Heaven Can Wait and The Shop Around the Corner it is still well worth watching and is a very good film overall. The film does drag a little towards the end and the ending is rather abrupt and awkwardly staged. But One Hour With You also has many pleasures, a case of the pros far outweighing the cons. One Hour With You is stylishly photographed with elegant period detail, and Lubitsch directs with his usual classiness. The songs are just great and generally do deserve to be much better known, the title song is the most well-known one and it is a catchy one indeed but we mustn't forget the risqué(for the time) Oh Mitzi, the witty Three Times a Day or the charming We Will Always Be Sweethearts. The dialogue is funny and sophisticated, the rhyming was really inspired and Maurice Chavalier's talking to the camera could have been annoying but was far from it. The story is very fluffy but very light-hearted, warm-hearted and sweet and nowhere near as improbable as the story for Monte Carlo(a better film than it's given credit for but the weakest Lubitsch I've seen so far). One Hour With You is beautifully acted especially from the sassy and beguiling Genevieve Tobin. Maurice Chevalier oozes wit and easy-going charm and avoids being creepy in Oh Mitzi despite the risqué/suggestive material. Jeanette MacDonald radiates on screen and sings beautifully in We Will Always Be Sweethearts(sad that she didn't sing more) and Roland Young is deliciously ironic and induces fireworks whenever he appears. All in all, a very good film if not among the best from Lubitsch. 8/10 Bethany Cox

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!

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.

Lubitsch's musical remake of his THE MARRIAGE CIRCLE (1924), with George Cukor as the original director, another case of creativity discord for insiders to dig, stars Maurice Chevalier and Jeanette MacDonald as a happily married middle class couple. It comes off as an accomplished guidance of how to manage your marriage while encountering flirtation or crazed suitors, a tad old school but it is pure fun.

Constantly breaking the fourth wall with self-revealing asides, the smooth-talker Chevalier's obtrusive French accent and mellow chanson are contagiously prepossessing, an honest man cannot withhold his feelings towards a seductress (Tobin), his wife's best friend, on the other hand, a demure MacDonald, famous for her high-pitch soprano lilt, is an excellent option to cast as his high-strung wife, who in turn is the love interest of his husband's best friend (Ruggles), but generally she only fences with him and only becomes intimate with him as an eye for an eye and a tooth for a tooth to Chevalier's philandering. So see the double standard here? Wife is not allowed to exude her real affection toward a third man while husband is granted full amnesty since Chevalier asks in our face "what will you do?", it's merely biological. But it is made in 1932, what do we expect?

One singling-out scene is the awkward moment between Chevalier and Tobin's divorce-seeking husband (Young) when they first meet, Young's self-claim of himself as a man with absolute no sense of humour puts a preposterous veil of parody in this chamber comedy, all 6 main characters are well-selected, Genevieve Tobin is a natural force as a temptress with her heavily eye-lined vixen eyes, moreover, her singsongy communication with her husband is so naturalistically phoney. The mockery of woman's self-praising instinct is largely exculpatory, all the way, the film possesses an uplifting comical rhythm without overblown theatricality, and the musical numbers are soothingly intoxicating, you can have a wonderful one hour (and a bit more) with it.