Criterion Sunday 170: Trouble in Paradise (1932)

On second viewing, this still impresses as Ernst Lubitsch’s masterpiece. It’s not just in the characters — whose love affairs are delightful, particularly that between gentleman thief Gaston (Herbert Marshall) and elegant pickpocket Lily (Miriam Hopkins), handled with the ‘touch’ Lubitsch was known for, a sort of playful understanding of sex before that was a subject you were ‘allowed’ to address directly in cinema — nor the fabulous actors (oh, Kay Francis!) but in the subtler artistry. The camerawork for example, just little pans across to catch a detail (especially in that almost avant-garde sequence of clock faces dissolving into yet more clocks). Or the way a fade to black can suggest so much. It’s the way that every actor gets little tics that make them into real people, or that a famous city like Venice can be introduced by a garbage gondola in the night, undercutting with great economy the usual conventions. There are so many fine choices, articulated as part of a whole that moves towards a romantic comic resolution, and all of it in well under 90 minutes.

Criterion Extras: There’s a 45-minute long film from early in Lubitsch’s career included as an extra, Das fidele Gefängnis (The Merry Jail) (1917). Lubitsch likes the genteel contours of the sex comedy, though his famous ‘touch’ wasn’t perhaps so refined in 1917 as it would be a mere fifteen years later. Indeed, this is primarily a stagy (three act) farce, in which a frivolous dissolute womanising husband has one put over him by his wife, using the time-honoured (even 100 years ago) device of putting on a mask to fool him. There’s a side-plot about the wife’s maid and… I’m not exactly sure what’s going on with the jail, such is the economy/speed with which this 45 minute film just speeds by, but suffice to say there’s a lot of kissing — whether cheating men with other women, or jailed men with their drunken captors. Isn’t life a merry jail?


FILM REVIEW: Criterion Collection
Director Ernst Lubitsch | Writer Samson Raphaelson (based on the play A Becsületes Megtaláló by Aladár László) | Cinematographer Victor Milner | Starring Miriam Hopkins, Herbert Marshall, Kay Francis, Edward Everett Horton, Charles Ruggles | Length 83 minutes || Seen at BFI Southbank (NFT1), London, Friday 23 May 2014 (and most recently on DVD at a friend’s home, London, Sunday 13 August 2017)

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Jewel Robbery (1932)

1932 saw two witty, urbane films featuring jewel thieves and the acting talents of Kay Francis, and this concise Warner Bros. film is not the one that has gone down in history, not least because Trouble in Paradise is one of cinema’s great achievements, directed by Ernst Lubitsch whose style Jewel Robbery is brazenly trying to command. That said, it’s certainly not without its own pleasures. For a start, there’s Kay Francis, of whose work I had hitherto been unaware, but who strikes me as a great talent (not to mention a great beauty). As Baroness Teri, her snappy repartee with William Powell’s unnamed jewel thief anchors the film. She also has a forthrightness to her manner that would make for a fine animated GIF set if I were inclined to that sort of thing and this were Tumblr. There are other actors, sure, but in truth it’s hard to remember any but the pair of them, the robber and his prey, first in the shop, then at her home, their relationship developing just as his seemingly effortless heist appears to be unravelling. It’s like an elaborate dance that the two of them undertake, such that the jewel heist plot seems an unwanted detail imposed for merely metaphorical purposes, and this is precisely how the two characters seem to treat it. It’s a film about falling in love, whether Baroness Teri with her robber, or — for me at least — the audience with Kay Francis.


© Warner Bros.

SPECIAL SCREENING FILM REVIEW
Director William Dieterle | Writer Erwin S. Gelsey (based on the play Ekszerrablás a Váci-uccában by Ladislas Fodor) | Cinematographer Robert Kurrle | Starring Kay Francis, William Powell | Length 68 minutes || Seen at BFI Southbank (NFT1), London, Friday 23 May 2014

My Rating 3.5 stars very good