The small kingdom of Marshovia has a little problem. The main tax-payer, the wealthy widow Sonia (who pays 52% of the taxes) has left for Paris. So Count Danilo is sent to Paris, to stop ... See full summary »
Edward Everett Horton
High class European thief Gaston Monescu meets his soul mate Lily, a pickpocket masquerading as a countess. The two join forces and come under the employ of Mme. Colet, the beautiful owner of the Colet perfume company. Gaston works as Mme. Colet's personal secretary under the alias Monsieur La Valle. Rumors start to fly as 'M. La Valle' steals Mme. Colet away from her other suitors. When the secret of his true identity catches up to him, Gaston is caught between the two beautiful women. Written by
Gary Jackson <firstname.lastname@example.org>
The 100,000 francs Gaston see that Madam Colet keeps in her safe would equal $3,925 at the time, or nearly $70,000 in 2016. See more »
(at around 10 mins) A very clearshadow of a boom mic moves against the wall/screen behind Lily, anticipating her next action (rising and moving toward Gaston). See more »
Yes, Baron. What should we start with, Baron? Hmm?
Oh yes. That's not so easy. Beginnings are always difficult.
If Casanova suddenly turned out to be Romeo having supper with Juliet, who might become Cleopatra, how would you start?
I would start with cocktails.
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In the opening credits the words 'Trouble in' appear and then a bed before the word 'paradise,' subliminally indicating that sex is at least part of the film's plot. It was done so subtly for the time that censors didn't notice it until the film's attempted re-release in 1935. See more »
An utterly beautiful film. I watched this for at least the umpteenth time last night - maybe 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 - but then could listen with pleasure to a piece of music for a thousandth time.
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.
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