TROUBLE IN PARADISE
US, 1932, 86 minutes, Black and white.
Herbert Marshall, Miriam Hopkins, Kay Francis, Edward Everett Horton, Charles Ruggles, C. Aubrey Smith, Robert Greig, Leonid Kinskey.
Directed by Ernst Lubitsch.
Trouble In Paradise was a successful comedy of the early '30s. Many commentators consider it one of the best examples of the sophisticated comedy of the time, a transition from silent posturing and melodrama to a crisp use of stage dialogue and wit within very conventional and formal scenes. The film is useful as showing the transition from silent to sound films. Direction is by German Ernst Lubitsch and the commentators coined the phrase 'the Lubitsch touch' from films such as this, elegant presentation of character and scene, wit, the dialogue which tends to sparkle even if it is at times almost banal, sexual innuendo, a sophisticated amorality.
This film about thieves and their exploitive use of people with twinges of remorse has all these ingredients and presents them in an entertaining way. Herbert Marshall was at the beginning of his long career in suave roles. Miriam Hopkins is somewhat strident as one of the heroines and contrasts well with Kay Francis as the wealthy victim of exploitation. Edward Everett Horton portrays one of his perennial comic roles at the beginning of a successful career in comedy. An interesting historical film.
1. The entertainment of the '30s? Now? Transition from silent to sound films? The traditions of the sophisticated comedy? The Depression and audiences wanting comedies - even about the wealthy? The tradition developing into the sophisticated comedy and the screwball comedy?
2. The work of Ernst Lubitsch and his light romantic touch? Suave, witty, amoral, artificial? His visual style?
3. Early sound techniques especially with music, dialogue? The importance of the visuals and the style of movement and editing? Lubitsch's humorous use of many editing devices e.g. the clocks, garbage, the dissolves and fades, the relationship and overlap of sounds and visuals? The film as presenting a clever style in film-making?
4. The very old plot and the fresh approach for the time? Serious comedy? Acceptance of amoral characters and situations? where were audience sympathies meant to lie?
5. The introduction to Gaston and the robbery? His smoking, the waiter, the leaf betraying his identity? The encounter with Lily and the revelation that each was a fake? Mariette and the robbery? His encounter with her and his style for presenting himself as honest, persuasive? Becoming her secretary? The board and his management of it? His charm? Lily and her working for Mariette? The parties, the gossip? The robberies? The innuendo in the growing relationship with Mariette, the tantalising anbiguities? The final confrontation? Techniques of manners, style, charm, ability to ingratiate? His humorously aggressive style especially with Francois, Mariette and the truth?
6. Gaston as ironic amoral hero? The suave, false but likable rogue in a romantic situation?
7. The contrast with Lily as thief, fake? Her style with Gaston? Their mutual stealing from each other? The gaudy American type? The bond with Gaston? Their operating together, her working for Mariette and her jealousy, hising in the bedroom and the confrontation with Mariette? Packing to escape? Her being upset? Confronting and winning?
8. Mariette and her appearance before the board, business sense, wealth and buying jewellery, her suitors, the opera, her bag being stolen and being returned so charmingly by Gaston, her falling for him, employing him, entrusting her finances to him, her falling in love with him, losing him?
9. Francois and the Major as comic figures? The laughs at their expense? Francois and his being robbed, his continued puzzle about Gaston, discovery of the truth? The Major and his pained loving attention for Mariette?
10. Giron and his place on the board. management of Mariette's affairs, family loyalty, confrontation with Gaston, revelation of his financial deals?
11. The butler and the comedy of butler types?
12. The importance of the dialogue, comic touches, suave irony, risque innuendo? Comical routines and pace, the civilised Lubitsch touch?
