13 user 2 critic

Paradise for Three (1938)

Passed | | Romance, Comedy | 4 June 1938 (USA)
A wealthy business man, out of touch with real folks, decides to mingle and see what it is really all about.



(from a book by), (screen play) | 1 more credit »
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Complete credited cast:
Fritz Hagedorn
Rudolph Tobler
Mrs. Irene Mallebre
Hilde Tobler
Mrs. Kunkel
Johann Kesselhut
Mr. Polter
Mr. Bold (as Sig Rumann)
Walter Kingsford ...
William Reichenbach


A wealthy business man, out of touch with real folks, decides to mingle and see what it is really all about.

Plot Summary | Add Synopsis


Romance | Comedy


Passed | See all certifications »




Release Date:

4 June 1938 (USA)  »

Also Known As:

O Hotel das Surpresas  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


This film's initial television broadcast in Los Angeles took place Tuesday 10 December 1957 on KTTV (Channel 11); it first aired in San Francisco 28 October 1958 on KGO (Channel 7) followed by Philadelphia 29 November 1958 on WFIL (Channel 6). Its earliest documented telecast in New York City occurred 15 August 1963 on WCBS (Channel 2). See more »


Version of Drei Männer im Schnee (1955) See more »


Jingle Bells
(1857) (uncredited)
Written by James Pierpont
Jazzy version played at the hotel costume party
See more »

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User Reviews

Fascinating When Viewed in Context
13 March 2014 | by (London) – See all my reviews

A somewhat fascinating film when considered purely as an artifact of the times in which it was produced. While the story reflects the background of the Great Depression and it is clearly evident in the plight of the character portrayed by Robert Young, it is the black storm clouds of the coming war that cast their shadow across this motion picture. Based on a German novel that is harmless enough to have escaped the flames of a Hitlerian bonfire, the setting is Vienna, 1938. The fluff that is the plot plays out in a city facing its utter doom as Hitler is fated to soon shatter forever the loveliness of the cultural mecca. The delusional will hysterically welcome the evil seducer into their midst and crush the illusion this motion picture projected on thousand of screens. It is the beat of storm troopers' boots that echo in the background, overwhelming the soundtrack as the cast frolics in the Alpine snow soon to run red with the blood of Nazi victims. It is as if monstrous hordes of black helmeted ski troops line the peaks of the slopes, waiting to sweep savagely down upon hapless Hollywood stars. The characters seem oblivious to what is to come but their future is inescapably intertwined with the geo-political environment in which they are trapped. This film stands as a curious moment in time, a snapshot of people dancing on the precipice of the abyss. The Europe in which they exist will soon be no more and they will be engulfed in the wave of unrelenting violence and horror that will break upon them within months. The creative minds behind the production can not ignore the headlines and that shadow of fear fleets across the shallow smiles of the actors. The theatre audiences that watched this film were well aware of what was happening and perhaps had just seen a newsreel of goosestepping SS parading before the swastika draped maniac who would soon touch all their lives with his frigid fingers. It is this background that is the foundation of this production and our hindsight cuts deeply into the way we view this film. The audience of the era sat uneasily in their seats, conscious of the horror awaiting them but in determined denial regarding the future. The audience of today can see that future and watches powerlessly, looking at the images that are now tainted by the dark knowledge of historical perspective. The broad grins that illuminate the opening credits seem forced now and strange in the harsh light of reality. But what indeed is reality once time and history have had their way with it? The images in this movie are the present and what we see is what was as well as what will be. It is in this context that the true value of the film can be discovered and considered.

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