Artist Jimmy Hudson (Cary Grant) is stuck in Mexico unable to pay his hotel bill. Meanwhile, Louise Fuller (Grace Moore) opera singer is stuck in the same town unable to return to the US ... See full summary »
Artist Jimmy Hudson (Cary Grant) is stuck in Mexico unable to pay his hotel bill. Meanwhile, Louise Fuller (Grace Moore) opera singer is stuck in the same town unable to return to the US due to visa problems. The solution, Hudson agrees to marry Fuller, in return for which she pays him $2,000, which allows her to return to New York to resume her opera career. Hudson and Fuller continue to meet and trade barbs, but it clear they are falling for each other. A highlight is when Fuller joins a 5 piece band to sing "Minnie the Moocher", the Cab Calloway signature number. True love appears to be thwarted by Fuller's career obligations and divorce papers are exchanged. But in the end love is triumphant! Written by
Louise Brooks was originally cast as the leading lady. But after several spats with Columbia Pictures chief Harry Cohn, she was abruptly replaced by Grace Moore and the picture was retooled as a musical comedy. Brooks can be glimpsed (uncredited) doing a specialty turn as a ballet dancer in one of the musical numbers. See more »
The sole directorial effort from Robert Riskin (the talented screenwriter behind many of Frank Carpa's best films), WHEN YOU'RE IN LOVE is one of many films that attempted to re-create the success of 1934's surprise hit ONE NIGHT OF LOVE. This film boasts the advantage of featuring opera singer Grace Moore, the star of the previous film, in the lead role, yet it never really seems to amount to much and was not well-received by audiences upon it's original release. The film's basic premise (famous Australian opera singer "hires" an American man to pose as her husband in order to enter the country) is a workable enough set-up, but the picture fails to generate much momentum or interest. Riskin does a respectable job for a first time director, but displays a poor sense of pace and allows the picture to become plodding.
Moore is acceptable as the film's Diva (she never really commands the screen, but she has a odd sort of like-ability) and Cary Grant is in fine form as her "rented" mate, but they are playing stock characters who only seem to behave in the manner that is necessitated by the script. Their relationship suffers numerous ups and downs throughout the course of the film, but I never really cared whether they ended up together and that is a serious determent for this type of picture. The film is also marred by far too many piecing musical numbers that seem to exist only to pad out the film's runtime and serve as a defacto showcase for Moore's shrill voice (even "Minnie the Moocher," which is often referred to as the film's highpoint, is virtually unlistenable). The film's true saving grace is Aline MacMahon in a fresh and intelligent performance as Moore's assistant - MacMahon's good-natured portrayal is a minor comic gem surrounded by a sea of mediocrity.
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