La Baronne de minuit

Claudette Colbert at her best, playing a down-on-her-luck singer in Paris who is mistaken for a member of Hungarian royalty; she goes along with the deception, but only to help wealthy John Barrymore out of his marital fix. Tightly-wound screwball farce written by Charles Brackett and Billy Wilder, from a story by Edwin Justus Mayer and Franz Schulz (with such a distinguished pedigree, the movie has to reach some high expectations--and does so joyfully). Directed in an efficient, brisk manner by Mitchell Leisen, with superb performances by the cast and pleasant, airy surroundings. Remade in 1945 as "Masquerade in Mexico". *** from ****

Break out the night vision goggles, the pick-axe, and the compass to find this one if you haven't seen it. I caught it at the MOMA cinema in the old museum basement and laughed so hard I was in tears -- and so were the hundred+ people around me. Monty Woolley and Hedda Hopper are a stitch to watch -- but this is definitely Claudette Colbert and Don Ameche's movie. Colbert spends the first 15 minutes of the movie cold, wet, and hungry -- and Ameche (her knight in shining Taxicab) thoroughly enjoys her predicament. The volley of screwball slap-lines goes on for another hour before the shoe finally fits (as we knew it always would.) The best grins are from Ameche's smug insanity -- and a shaving mug fully loaded.

Best of all, the dazzling innocence of the comedy writing from Billy Wilder and Charles Brackett is so light and politically incorrect that you can almost smell "Some Like It Hot" on the distant horizon. There is no meanness or cynicism in MIDNIGHT. Just a good story, good laughs, and a cast full of people you want to meet again and again.

Claudette Colbert wanders around Paris broke and in gold lame in "Midnight." She meets a cab driver and, finding herself attracted to him, she takes off. While he's organizing a city-wide cabbie search for her, she's at a private party and winds up at the Ritz as Baroness Czerny - which is his last name, chosen by her in a moment of panic. She is backed in all her lies by John Barrymore, in a wonderfully funny performance, who wants her to woo his wife's boyfriend away from her.

There are some familiar themes at work here - one is the suitor for hire and/or opportunity, used (with variations, of course) in "Her Cardboard Lover" and "Palm Beach Story," "Mannequin," and the affable, unambitious man who feels that by having nothing, he has everything, such as in "Magnificent Dope" and "You Can't Take it With You." That's the Ameche character. Knowing she could fall for him sends Colbert running - just as she ran from Joel McCrea in "Palm Beach Story." This hunger for money in some characters (usually women) and loathing of it (usually men) is a strange dichotomy than runs through several post-Depression, pre-war films.

The handsome Czech leading man, Francis Lederer, plays Mary Astor's boyfriend who falls for Colbert. In 1929, when he made a film in Germany with Louise Brooks, Lederer couldn't speak a word of English. He lived to be nearly 101 and in his last years, taught at the American National Academy of Performing Arts, which he and his wife founded.

The funniest scene to me was a phone conversation between Barrymore and Colbert, in which she pretends she's talking to her sick daughter. But everyone is great in this movie, which is very funny and refreshing.

Until Claudette Colbert utters the line, "Every Cinderella has her midnight," into the ear of her crony John Barrymore, you'll wonder as to the title of this movie. While you're wondering, though, you'll be in for a hilarious treat. This modern-day Cinderella comedy is adorable, and if you like it, check out The Palm Beach Story, which reunites Claudette and her costar Mary Astor in another comedy.

Claudette Colbert stars as a poor girl who wishes to mingle with high society. She bonds with the wealthy John Barrymore and he helps her weasel her way into the in-crowd, but her brief romance with cab driver Don Ameche threatens to ruin all her plans. Don drove Claudette in his cab, and stayed in his apartment overnight, but left before he could learn her name! When he finally tracks her down, he has two options: expose her or pretend to be her wealthy husband. . .

From start to finish, Midnight is hilarious. The comic timing is perfect, the jokes are witty, and the ending is insanely funny. One of the best forgotten comedies of the 1930s, it manages to create hilarious situations out of the absurd, while using witty banter to entertain the mind as well as the reflexes. Rent it when you're in the mood for something light and silly.

Screwball comedy is an art and in '39 Charles Brackett wrote a perfectly wonderful one for CLAUDETTE COLBERT and DON AMECHE called MIDNIGHT and directed by the talented Mitchell Leisen.

Claudette is down to her last coin when she stumbles out of a taxi-cab driven by Don Ameche and strolls around Paris in the pouring rain in a gold lame dress, not exactly the picture of a girl down on her luck. But the fun begins when she crashes a party given by a bunch of socialites and has to pretend to be there as a member of high society. She calls herself a Baroness and before long, Ameche has caught up with her and goes along with her impersonation, calling himself a Baron.

Of course, it takes many plot twists and turns for the whole story to come to an end, and by that time there are quite a few laughs provided by Claudette and company. JOHN BARRYMORE is in especially good comic form as a man who wants his wife (MARY ASTOR) to get rid of her lounge lizard boyfriend (FRANCIS LEDERER), who happens to fancy Claudette. REX O'MALLEY has a fey role as a house guest and the cast includes HEDDA HOPPER and MONTY WOOLLEY as an exasperated and befuddled judge.

Claudette has her best role since IT HAPPENED ONE NIGHT and makes the most of it. She schemes her way in and out of trouble with the disarming charm and ease of an actress who has worn many disguises before.

Summing up: A very winning comedy that is a perfect example of screwball at its best.