Stubs - Trouble in Paradise - "The Lubitsch Touch"

Trouble in Paradise (1932) Starring: Miriam Hopkins, Kay Francis, Herbert Marshall, Charlie Ruggles, Edward Everett Horton, C. Aubrey Smith, Robert Greig. Directed by Ernst Lubitsch. Screenplay by Samson Raphaelson. Based on the play A Becsuletes Megtalalo (The Honest Finder) by László Aladár (Budapest, Dec 1931). Produced by Ernst Lubitsch Run time: 83 minutes. USA Black and White. Pre-Code Romantic Comedy.

Director Ernst Lubitsch was an early émigré from Germany to Hollywood but he didn’t come to America to escape the Nazis. Instead, by 1922, he had seen enough American films to know that Hollywood had more financial resources than the rather spartan German one. While making films in America he became known for his urbane comedies of manners and something called the “Lubitsch Touch.” One of the better examples of that is Trouble in Paradise (1932).

Based on a Hungarian play, A Becsuletes Megtalalo (The Honest Finder), by László Aladár, Trouble in Paradise, went into production in 1932. Originally called The Honest Finder, the name was changed to Thieves and Lovers, and then to The Golden Widow before they released it as Trouble in Paradise.

Even though the Production Code wasn’t enforced, the Hays Office did object to the film’s opening sequence in which we see a Venetian garbage collector in his gondola on the canals. They thought "...it might be worthwhile to suggest that some more colorful and romantic scenes of Venice be added to soothe offense that might be taken because of a feeling that a rather deliberate slur [is intended] by keeping the camera and the audience mind focused so much on the garbage that it takes on almost symbolistic significance. This may sound far-fetched, but Venice has always been the symbol of romance and this is a radical departure.”

On the tails of that less-than romantic scene, we see the after-effects of a robbery. François Fileba (Edward Everett Horton) is lying on the floor of his room while we see a man escape. Later, when he tries to describe what happened to the police, he has to speak through a hotel interpreter. Everything he says in English is repeated in Italian to the investigators. The Hays Office also objected to the portrayal of the Italian police, who all have exaggerated reactions. “The scenes surrounding the discovery of the robbery of Francis [i.e., François] indicate a possibility that the police may be portrayed in the so-called musical comedy manner [excitable, arm-waving and jabbering], thus repeating the offense created in This Is the Night [a Paramount film released that same year].”

François details how a man posing as a doctor showed up at his room and wanted to see his tonsils. Even though he hadn’t called for a doctor, after ten minutes of discussion, he agrees to let the man look at his. And that’s the last thing he remembers.

Following the robbery, we see Gaston Monescu (Herbert Marshall), who is posing as a baron planning a dinner with a hotel waiter (George Humbert).

Gaston Monescu: It must be the most memorable supper. We may not eat it, but it must be marvelous.

Waiter in Venice: Yes, baron.

Gaston Monescu: And, waiter.

Waiter in Venice: Yes, baron.

Gaston Monescu: You see that moon?

Waiter in Venice: Yes, baron.

Gaston Monescu: I want to see that moon in the champagne.

Waiter in Venice: Yes, baron.

Outside, he sees his date for the evening, Lily (Miriam Hopkins), a pickpocket posing as a countess, arriving by gondola. Before dinner, she pretends that she needs to keep this rendezvous on the down-low so as not to cause a scandal. In fact, she’s talking with her roommate rather than a countess.

Publicity photo of Lily (Miriam Hopkins) and Gaston (Herbert Marshall) on their first date.

During their dinner, Lily politely accuses "the baron" of being a thief. She knows that he is the one who robbed Francois, or the man of rooms 253, 5, 7, and 9, as he’s also known. She knows that he’s stolen the 20,000 Lire. He, in turn, accuses her of being a pickpocket. He tells her he knows she stole his wallet because she tickled him when she picked his pocket. He literally shakes her until it falls to the floor. She asks him for the time, then reveals she’d nicked his pocket watch. When he, in turn, reveals he’s taken her garter, she falls instantly in love with him. It seems like a match made in thieves’ heaven.

The perfume factory at the heart of Mariette's wealth.

Nearly a year later, in Paris, Mariette Colet (Kay Francis) is a widow and now the owner of her husband’s perfumerie, Colet and Co. She is not interested in hearing from the board about reducing worker pay during financial hardship and would rather be out shopping. The item we see her buy is a diamond-encrusted purse which she buys for 120,000 lire.

Mariette (Kay Francis) on a date with one of her suitors, The Major
(Charles Ruggles). Note: Expensive purse on the ledge.

Mariette has two men trying to win her charms, François and a man known only as The Major (Charles Ruggles). Later, when she is at the opera with The Major, her purse is noticed by Gaston and before long, it disappears.

Making the most of his limited screentime is Leonid Kinskey, a communist
who berates Mariette for having spent so much on a purse to begin with.

The next day, Lily reads in the paper that Mariette is offering 20,000 francs as a reward. Deciding that it is better to get the reward than trying to pawn it, Gaston, at Lily’s insistence, takes the purse back to Mariette. Before he gets in to see her, we see there is a roomful of hopefuls and a Communist (Leonid Kinskey) who berates her for having spent so much money on a purse, given the depression.

Posing as Monsieur LuValle, Gaston returns the purse he's stolen for the reward money.

Posing as Monsieur LuValle, a member of the "nouveau poor," Gaston returns the bag to Mariette. He charms her with his knowledge of antiques and fashion. While he never receives the 20,000 franc reward she’s offering, she does hire him as her secretary. But he does learn that she keeps 100,000 francs in her home safe and becomes determined to steal it.

Although she is known all over Paris, Mariette believes marriage is a beautiful mistake and has turned down proposals made by ardent suitors Fileba and the Major, who continually bicker as they compete for Mariette's attention.

As her secretary, Gaston takes steps to increase the money that she has at home, hoping to raise the amount to 850,000 francs. He not only plans to steal it, he also raises her insurance coverage to cover it.

Meanwhile, Lily, wearing eyeglasses and assuming an officious manner, works as Gaston's assistant under the name Mlle. Votier. She pretends to be devoted to Mariette even though she is jealous of her attentions toward Gaston, and advises him to stay a crook and not become a gigolo.

After a few weeks, Mariette introduces Gaston to her social set, including François. Gaston insists they’ve met before but François is sure he has never met Gaston.

Monsieur Giron (C. Aubrey Smith), chairman of the board at Colet and Co., has his doubts about Gaston.

Monsieur Giron (C. Aubrey Smith), who has been chairman of the board at Colet and Co. for years, then sanctimoniously accuses Gaston of stealing from the company, but Mariette defends him. Giron tries to ask Gaston questions about his supposed background and Gaston deflects trying to pretend that he is just as concerned about Giron’s reports.

François is still bothered about Gaston, even though he is convinced he has never met him, he still engages him in a conversation about it:

François Filiba: Have you ever been in Venice?

Gaston Monescu: No.

François Filiba: You've never been in Venice?

Gaston Monescu: No. Have you ever been in Vienna?

François Filiba: No.

Gaston Monescu: Amsterdam?

François Filiba: No.

Gaston Monescu: Constantinople?

François Filiba: No.

Gaston Monescu: You've never been in Constantinople?

François Filiba: No.

Gaston Monescu: But you have been to Venice?

François Filiba: Yes.

Fearful that François will expose them, Gaston and Lily decide they must leave Paris earlier than planned. Travelling on fake Spanish passports, they plan to take the midnight train to Berlin.

Things heat up over time between Mariette and Gaston.

The relationship between Mariette and Gaston has also advanced. Mariette is obviously in love with the man she thinks he is. That night she is supposed to attend a party but would rather stay in with Gaston. There is a sequence in which Jacques, the butler (Robert Greig) is told to call the car, dismiss the car, recall the car, etc. as he walks up and down the stairs.

Before she leaves, Mariette makes Gaston promise her that they will be together the next day:

Mariette Colet: What are you going to do with my day tomorrow, Monsieur La Valle?

Gaston Monescu: Well, we'll have breakfast in the garden together.

Mariette Colet: Mm-hmm.

Gaston Monescu: Then horseback riding together.

Mariette Colet: Mm-hmm.

Gaston Monescu: Then lunch in the bois.

Mariette Colet: Together.

Gaston Monescu: Then, I would say, a little nap.

Mariette Colet: To-[laughs]

Lily gets concerned when Gaston is too busy to take her calls.

Meanwhile, Lily is getting jealous. Her frequent calls go unanswered and even though he does call her, she already has her doubts. She is more concerned that he wants to delay their departure until morning.

This ashtray triggers François to remember where he's met Gaston before.

At the party, François finally realizes where he’s met Gaston and that Gaston was the one who robbed him.

François Filiba: Tonsils! Positively tonsils!

Meanwhile, Giron visits Gaston and accuses him of being the thief Monescu, but Gaston manages to turn the tables on Giron, accusing him of pilfering money from Colet and Co. It must be true, because Giron backs down and leaves without telling Mariette or calling the police.

Lily doesn’t want to wait and she returns to steal the 100,000 francs from the safe but she can’t leave before Mariette returns.

Publicity shot of Gaston coming clean with Mariette.

Despite what’s she’s heard about Gaston she still seems determined to make love to him. After removing her pearl necklace for her rendezvous with Gaston, she is about to put them in the safe when Gaston informs her that Giron has embezzled millions from Colet and Co. He then confesses to being Monescu and to stealing the 100,000 francs.

But he also confesses that even though he came to rob her, he has fallen in love with her.

Lily returns the money before taking it as payment for Gaston.

Lily interrupts and admits it was she is the one who took the money. She initially returns the money and gives Mariette permission to sleep with Gaston. But in the end, Lily tells Mariette the 100,000 francs is the price she must pay for Gaston and takes it back.

After Lily leaves, Gaston admits it would be better if he stayed with Lily and bids good-bye to Mariette. While Mariette is wistful about what might have been between them, she agrees to let him go, and even agrees to let him take the pearl necklace that Lily has wanted.

Later, in the cab together, Lily doesn’t seem happy. Gaston reaches into his coat for the pearls to present them to Lily, but she has already taken them, along with Mariette’s diamond bag. Gaston, in turn, has stolen Lily's 100,000 francs from her, which he then returns to her, and they kiss.

Released on October 21, 1932, Trouble in Paradise was not a financial success. Made on a budget of over $500,000, it made only $475,000 domestically. When Paramount wanted to re-release the film in 1935, trying to recoup their costs, the Hays Office refused to let them. The film contained adult themes and sexual innuendo that was not permitted under the Code. Paramount was even denied the idea of making the film into a musical in 1943. Trouble in Paradise would not be seen again until 1968 when the Code was abandoned.

The film is considered to be the first time the term “the Lubitsch Touch” was used to describe a film. The Lubitsch Touch was coined by a publicist who did not define it. However, it is used to describe, and I’m paraphrasing Richard Wallace’s article on the subject, the director’s cinematic wit, gracefully charming and fluid style, and his ingenious ability to suggest more than he showed and to show more than others dared suggest.

There are many examples in the film where the word sex is not said but implied. The silhouette shadows of Gaston and Mariette on her bed, are just one example. We know this is where the relationship is headed but is never verbalized. Or, the talk of taking a nap, “To-“ as Mariette hints, leaves little to the imagination.

It is said that Trouble in Paradise was Lubitsch’s favorite film. Writing shortly before his death in 1947, "As for pure style, I think I have done nothing better or as good." He is not alone in that feeling, as many consider the film to be a gem from the early 1930s. It was even described at the time of its release as "like caviar, only tastier."

However, not all of the reviews at the time were as glowing. Variety in their contemporary review of the film stated, “Despite the Lubitsch artistry, much of which is technically apparent, it’s not good cinema in toto. For one thing, it’s predicated on a totally meretricious premise.”

But time has been kind to the film. When writing about the film in 2000, Mick LaSalle of SFGate, writing on the occasion of a one-week run of the film, called the film “A Comic Masterpiece”.

The script, by Samson Raphaelson, is full of snappy dialogue and sexual innuendo. Truly a gem unto itself, however, Lubitsch makes it flow. There are a couple of clever passage of time sequences, the best maybe watching the pages of an Opera score flip pages to the end. But what really sells the film is the acting.

We’ve talked about Miriam Hopkins before. One of the more popular pre-Code actresses in Hollywood, she seems to exude sex appeal. Even though she is top-billed, her role is perhaps the smallest of the three main characters. She is at her best when she’s acting with Herbert Marshall, who is the character that holds the whole plot together. He delivers his lines in a wry manner that they seem to say more than just the mere words he’s saying.

Kay Francis, who was on loan to her original studio, Paramount, for the making of this film, is hard not to watch. She’s a very captivating and appealing actress and even though I haven’t seen that many of her films, I tend to like her in whatever I see her in. It’s sad that, for whatever reason, she is somewhat forgotten when people talk about classic Hollywood. She deserves to be remembered as one of the best of her time.

Edward Everett Horton and Charlie Ruggles playing bickering suitors.

Charlie Ruggles and Edward Everett Horton are always a delight when they’re on screen. They each have their own niches when it comes to acting and are allowed to show them in this film. While they were both great character actors, a lot of the success of the film is due to Lubitsch. In this film, even the scenery plays a role as the staircase in Mariette’s home helps with the comedy.

Miriam Hopkins is quoted as saying that working with Lubitsch was like attending a great drama school, calling him "the master craftsman that people learned comedy and everything from." His touch is very much on display here and this is certainly not a film to be missed.