Trouble in Paradise (1932)

Director:

Ernst Lubitsch

Writers:

Aladar Laszlo (play)
Grover Jones (adaptation)

Release Date:

21 October 1932 (USA)

Genre:

Comedy | Crime | Romance

Plot:

High class European thief Gaston Monesque meets his soul mate Lily, a pickpocket masquerading as a countess...

Plot Keywords:

Thief | Jealousy | Pickpocket | Secretary | Perfume

Awards:

1 win

Cast

Miriam Hopkins	...	Lily
Kay Francis	...	Madame Mariette Colet
Herbert Marshall	...	Gaston Monescu
Charles Ruggles	...	The Major (as Charlie Ruggles)
Edward Everett Horton	...	François Filiba
C. Aubrey Smith	...	Adolph J. Giron
Robert Greig	...	Jacques, Mariette's Butler
Leonid Kinskey	...	The Communist
George Humbert	...	Waiter

Also Known As:

The Golden Widow (USA) (pre-release title)
The Honest Finder (USA) (working title)
Thieves and Lovers (USA) (working title)

Runtime:

83 min

Country:

USA

Language:

English | Italian | Russian | Spanish | German

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Noiseless Recording)

Certification:

Norway:16 (1933) | USA:Passed | South Korea:12 (2003) | Australia:PG | Finland:(Banned) | West Germany:12 (nf)

Filming Locations:

Los Angeles, California, USA

Company:

Paramount Pictures

Trivia:

This movie was popular both with critics and with audiences, but was made before the enforcement of the production code. After 1935, it was withdrawn from circulation and was not seen again until 1968. The film was never available on videocassette and only became available on DVD in 2003.

Quotes:

Gaston Monescu: I see. You have to be in the Social Register to keep out of jail. But when a man starts at the bottom and works his way up, a self-made crook, then you say, "Call the police! Put him behind bars! Lock him up!"

Movie Connections:

Referenced in One, Two, Three (1961)

Soundtrack:

Colet and Company

(In times like these it's) Poetry in Motion

An utterly beautiful film. I watched this for at least the 18th time last night - about once a year every year since I taped it off TV in 1987. Did it let me down? It hasn't yet and I don't think it ever will: I was as captivated by it as I was the first time, and yet it portrays a world, its people and their actions I'll never know, and probably wouldn't want to know either. Some people I know can't watch any film or TV programme a second time and are puzzled when I can - then they listen to a piece of music that they've heard 4000 times before in their lives.

Lubitsch's peerless masterpiece about two crooks (Gaston and Lily) moving amongst high society, falling in love with each other, with high society and with high society in the attractive shape of rich businesswoman Madame Colet falling in love with Gaston is a witty, charming, sophisticated, erudite, relentless, sparkling etc comedy that by the finish has had the effect of defragmenting my mind and deleting the real world for a short while - no mean feat! Every second of every scene carries it's witticisms, not a moment is wasted from the dignified opening with the title song fading into the rubbish boat on the Grand Canal in Venice to the swift orgasmic climax in the taxi in Paris. At the beginning when the stricken Monsieur Philiba rises and falls to the floor of his hotel room again and the Neapolitan music lulls you across a cheesy model set to where the smoking Gaston is urbanely discussing cocktails with a waiter you should know you are in for something special. Ultra demure Kay Francis gets to says Divine twice in a row! Even looking at nothing but a clock for a minute carries a soundtrack bulging with wit and innuendo. Something as unimportant as Herbert Marshall apparently running up and down Kay Francis's stairs (on camera, in mirrors or in sound only) turns out to be an in-joke - he had only one leg. Other running gags make you smile after the film has long finished, such as Positively Tonsils and No Potatoes. And to think about this film even years later it's always with the lilting, insistent, mocking romantic background music! But I could go on and on, there's enough in this for 10 films of today to borrow if they could make them like this any more. "Frasier" on TV has been the closest in sophisticated comedy in recent times, but even so it couldn't match TIP's compact inventiveness. Out of the 97 million movies I've watched this is definitely in my top 5 favourites.

It's a pity that so many people can so easily be put off by black and white photography and bygone stars who they've never heard of; in this case what they're missing out on is near perfection, and again another film that will still be available when all of the undisciplined uncensored in-your-face films of today are forgotten.