Trouble in Paradise (1932)

...and Ernst Lubitsch at his zenith. First things first: thank you to TCM for showing this recently. Of course I taped it, and of course I've practically worn the tape out by now, a month later.

Point #2: something is terribly wrong in Paradise if the peak era of his work, 29-33, remains in shadow today. Where are the VHS/DVD releases of these wonderful films? Nowhere that I can find them; hopefully the good folks at Turner will continue reviving the early sound Lubitsches. I waited 25 years to see this one again, and the wait was not in vain. Those 25 years put a bit of snow on my roof, but they also allowed me to drink in the ambrosia that is this film with a bit more appreciation than I had at 16. And what intoxicating ambrosia it is! Script, performances, directorial vision are all exquisite. The leads are inspired (oh, for a night with Kay Francis!); the supporting players, expertly calibrated farceurs. The utilization of music as ironic counterpoint to the visuals rivals Clair; the title song, sung over the opening credits, will make your heart race, and break, at the same time. And the look of the film (Art Deco, lovingly handrubbed to a burnished glow) will linger with you forever.

Again and again, Lubitsch pulls rabbits out of hats: scenes like the deepening of Herbert Marshall and Kay Francis' relationship from business to pleasure 'seen' in a clock face are emblematic of what makes this such a special film. Its story is slight, frothy, very nearly silly; yet Lubitsch's knowing observation of small, telling details makes it magical. TROUBLE is not a timeless film, anchored as it is to a very specific time (Long Ago) and place (Far Away), which only deepens its charm and its seductive tugging on the audience's sleeve. I've watched it three times in a night, and three times more the following night - not behavior I usually exhibit. But the siren call of its lively, civilized wit is such that I'm hitting 'rewind' the moment it ends - I don't want to break the spell and return to reality just yet. As fertile as the preCode era is, as many classics as that golden period continues to yield up to those willing to discover them...TROUBLE IN PARADISE is the most glorious of them all.

Fmovies: Why isn't this film out on Video or DVD? It is a masterpiece of subtlety and wit that has to be out there for people to study and learn from instead of being 'out of circulation.' Can you imagine Chaplin's 'Gold Rush' or 'Modern Times' being out of circulation? No. Well, this is a better overall film than anything Chaplin ever put out and mawkishly undermined with sentimentality, but only film buffs who go to rare screenings get to see it. It is not so much a laugh riot like Chaplin's best bits as it is extremely clever, to the point of being transcendent. Its tone reminds me very much of Jean Renoir's 1939 'Rules of the Game,' and Bunuel's comedies, although it doesn't have Bunuel's 'cruelty' (as master critic Andre Bazin would put it). It is just a work of art which most 'non-artsy' people will dismiss as 'just another clever comedy' because works of art annoy them (and they don't see why they should be bothered with applying the energy needed to understand them), while 'artsy' people will overrate it, and rightly so. Overrated or not, Lubitch's film is a joy to behold; you are glad it exists. As you're watching, you know you're being hit with valuable not-necessarily verbal information left and right. You know it's worth reseeing many times because you will get a different blend of perspectives from it everytime (much like a great piece of music). The essence of what makes it 'great,' as opposed to 'just another comedy' is this: 'Trouble in Paradise' completely destroys harmful romantic myths while affirming true romanticism (think Stendhal, Proust, Lessing, Nabokov) in the very way it is made, its style. This is what it does and it is an extremely important and purifying process for those who go through it and implicitly embrace its implicit principles. But, as it is, nobody'll get to see it anyway because it's not out on video, so what the hell am I writing for? To get all 3 of the people who will read this page in the next year to demand that it be put out for public consumption. Long live democracy!

Once, "The Lubitsch Touch," was as well known as Hitchcock's reputation as "The Master of Suspense."

"Trouble in Paradise" is Lubitsch's unqualified masterpiece. This pre-code sophisticated comedy epitomizes the European attitude toward sex in its very first scene between Hebert Marshall and Miriam Hopkins. Marshall reveals he has stole Hopkin's garter without her knowing it and she leaps in his lap. She checks -- at the dinner table no less -- realizes it is gone and with the admiration of one thief for another leaps into his lap. "Darling!" she says. No one has to guess what she has in mind, although it is all done with the wit and brio that the "Lubitsch Touch," refers to.

It's great to have this film readily available and the DVD version includes an informative and enlightening commentary (Marshall only had one leg and his lurching walk made a certain speedy cutting necessary that helps give the film it's light, speedy quality).

Lubitsch also made "Shop Around the Corner," remade by Nora Ephron as "You've Got Mail," and "Ninotcha," with Greta Garbo. His musicals with Maurice Chevalier and Jenette MacDonald, such as "The Merry Widow," are also worth seeking out.

Trouble in Paradise fmovies. Please read the other reviews for the full measure of this treasure - I will just string together my observations:

Amazingly deft display of international sophistication for such an early film - who knew? Pre-code comedy of adult realities, without a hint of exploitive sensationalism.

Herbert Marshall as a romantic lead, every bit as good as, say, Cary Grant or Ronald Coleman - at absolute top of form, like everyone in the cast. Again, who knew? Miriam Hopkins, just stunning. Pure chemistry with Marshall.

Kay Francis, new to me, but gorgeous and utterly believable.

And all the supporting players - C. Aubrey Smith, Edward Everett Horton, Charlie Ruggles, even Robert Grieg, the butler (as also in The Lady Eve, a film of similar polish) - each familiar from many other films, but scarcely if ever seen in better form.

I truly do not understand why this film is not better known to me and everyone. I had to see it in a film class, and was frankly expecting much worse considering it was made scarcely three or four years into the "talkie" era. This is a polished many faceted gem, criminally under-circulated. It makes you wonder what Hollywood might have accomplished without an over-restrictive Production Code.

I see DVD became available only in 2003? This is a MUST SEE!

Beautiful, spellbinding romantic comedy with a suave jewel thief (Herbert Marshall) falling in love with his intended victim (luminous Kay Francis) much to the displeasure of his girlfriend (Miriam Hopkins). Beautifully shot (the scenes seem to glow), incredible sets and costumes, a very witty script, wonderful performances by everybody, superb direction by Ernst Lubitsch and some fairly racy Pre-Code material. What more can I say? It's perfection. A must-see!

First of all, let me say that this film is as close to perfection as one can get---look at the "throw away gags", the play with words, the wardrobe (Miriam Hopkins stole the show; especially in the Opera scene when she comes out of the "Parlour des femmes" & asks her "Sugar Daddy" for some "francs" to give to the ladies room attendant---that black dress was haute couture at its best!), the gait of the actors, the snappy dialogue. They all look so-o sophisticated & worldly.

SHEER PERFECTION!

It took me 5 years to get this film & it was worth every minute! This is MY FAVORITE film!