When You're in Love (1937) User Reviews

Good Grace Moore vehicle? Yes. To see Cary Grant and Robert Riskin at their best, look elsewhere

[TheLittleSongbird · 5/10 · 23 October 2016]

The premise for 'When You're in Love' had a lot of potential, Grace Moore was a likable singer/actress who achieved some success as a film star but that was short-lived, Cary Grant was one of the cinema all-time greats and Robert Riskin was a brilliant screen-writers.

Any film also, and there's plenty of them around, that tries to give opera (a medium that has been a lifelong passion, but sadly its appeal has become generally increasingly more limited over the years) more popularity and make it more accessible is worthy of some credit. Somehow however, despite some very good things, 'When You're in Love' falls short of its potential.

Moore herself is sexy and a very likable and charming screen presence. She also sings very well, especially in "Sibonay". Though "Vissi D'Arte" doesn't sound right for her voice (prefer a bigger and richer voice for Tosca) and doesn't feel right within the film either. 'When You're in Love' doesn't see anywhere near the best of Grant, but his customary urbane charm can be seen in bucket loads and he and Moore do share a sweet chemistry. Aline MacMahon comes very close to stealing the film, her good-nature and sass reminding one of Eve Arden.

'When You're in Love' is beautifully shot and sumptuously designed. The music is wonderful, whether pre-existing or written especially for the film, and along with Moore the star of the film, with "Sibonay", "Your Song" and "Minnie the Moocher" coming off best. Choreographically, "Minnie the Moocher" is energetic and enormous fun, by far the best musical number in staging and choreography, and Moore certainly does let her hair down. The scene in the cabin is a lovely scene too.

On the other hand, Riskin's talent as a screen-writer is not matched at all by his direction, showing that there was a reason as to why this was the first and only time in the director's chair. Stylistically it's fine, but too much of it dramatically and pulse-wise screams of inexperience and too many of the musical numbers are staged indifferently or bizarrely (so much so that the exuberant "Minnie the Moocher" feels overblown in comparison), Schubert's "Serenade" is an insulting mix of both especially. The story seemed like it would work on paper, but too much of it is bland and implausible with the final act and ending taking a turn for the worse in lack of momentum of ridiculousness.

There are scenes and decisions that begged for explanation as to why they happened, especially why "Serenade" was staged the way it was, the placement of "Vissi D'Arte" and much of the pivotal romance, but they never came. While the chemistry itself is sweet, 'When You're in Love' is written in such a flat way (no sparkling bubbles here in this script, just a lot of substance-less froth that becomes dull, strange and too sugary) that one is never fully invested in the romance itself.

In conclusion, works well as a Grace Moore vehicle and anybody wanting good music will not be disappointed. There are far better examples of Grant and Riskin's talents elsewhere other than here however. 5/10 Bethany Cox

A very uneven romantic comedy with some great, and not so great, musical numbers

[richard-1787 · 6/10 · 18 August 2014]

Robert Riskin, who wrote the script for this movie, also wrote the scripts for Platinum Blonde (1931), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), You Can't Take It with You (1938), Meet John Doe (1941), and many other of the great movie classics of the 1930s. If I start by listing those masterpieces, it is to wonder how he could have written something as poor as this script. Because it is the script, and Riskin's sole turn at being a movie director, that sink this movie. The first part is very poor, the middle not as bad, but then the end, with the god-awful music festival done in neo-Grecian art deco, destroys any chance of actually respecting this movie. HOW could anyone have thought that the last number, a piece that talks about a "simple song" but is staged with a cast of hundreds in elaborate 18th century ball gowns and what not, would not look ridiculous? It's a shame that the script and direction are so often so poor, because there are good things in this movie.

Moore's singing of Sibonay early in the movie is magical. It's a great number, brought off wonderfully by Moore at her very best. The staging isn't great, but it doesn't sink what is really a great five minutes.

There is also a very effective 5 minutes dramatically when Cary Grant and Moore sit before a fire in his cabin. The scene comes off as very natural, and very convincing - one of the few such natural moments in the movie, unfortunately.

Several of the other musical numbers, done very simply, are very moving. The song Moore sings to the children about the wooden doll, her song out in nature (which then gets travestied as the finale at the music festival), her singing of a folk-song while lying on her back in the cabin. And while she was no Cab Calloway, she does a nice job with Minnie the Moocher.

But Riskin's direction kills a good performance of Shubert's Serenade, done, for no apparent reason, in neo-Grecian art-deco. And Moore's performance of Vissi d'arte from Tosca under the opening credits is never explained and leads nowhere.

The dramatic crux of the movie happens only because Moore's character fails to explain to Cary Grant's why she has to sing at the music festival. It makes no sense that she would not have explained this.

So, in summary: there are some golden nuggets in this movie, mostly the musical numbers - but not all of them. Most of the rest of it is poor.

Very definitely inferior to Moore's other movie from 1937, I'll Take Romance, which suggests that Moore could have made some good movies if she had had better directors and material.

Gracie Gets Down

[bkoganbing · 5/10 · 18 May 2008]

When You're In Love will forever be known as the film where Grace Moore shed her opera image and did a low down version of Minnie the Moocher. For that and for the fact that she got Cary Grant as a leading man who in the end would way eclipse her in movie star power. Grace was on the decline in Hollywood and Grant was rising fast.

The film was produced, written, and directed by Robert Riskin, his only directorial credit. Riskin is primarily known as the screenwriter collaborator of Frank Capra in some of his most memorable films. He also had been romantically involved earlier in the decade with another soprano star Jeanette MacDonald.

In fact the Minnie the Moocher sequence was inspired I'm sure by Jeanette's turn at jazz in Rose Marie the year before where she sang Some of These Days.

Though it didn't appear so When You're In Love was also a milestone film for Cary Grant even though he was distinctly second billed to Miss Grace Moore. This was his first film after leaving his nurturing studio of Paramount. For the next fifteen year or so, Grant alternated primarily with RKO and Columbia as employers of his free lance services.

The plot borders on the silly. Grace Moore is an Australian opera star who overstayed her work visa in America and was deported to Mexico where she's languishing waiting for an immigration quota number. Her shrewd manager Aline McMahon hits on the idea of marrying an American to get back in the country immediately.

Well if you're going to get married you can't do better than Cary Grant for any purpose. He's a penniless artist and also would like to leave Mexico, but he does have some rather interesting ideas on the relationship himself.

Moore's character is no doubt borrowed from real life Australian opera singer Marjorie Lawrence whose life story would be told in the MGM film Interrupted Melody. Lawrence did marry an American, but not for her immigration status.

The subject matter of the film would be done in a far more serious vein by Paramount in 1941 in Hold Back The Dawn with Charles Boyer and Olivia DeHavilland. Those folks's immigration problems were far more real than what we see here.

Grace Moore has her usual mix of opera and concert material to sing in When You're In Love. In addition Jerome Kern and Dorothy Fields also contribute two numbers as well.

But it's Minnie the Moocher, that red hot Hoochy Coocher for which this film will always be known. What must Cab Calloway have thought?

Lesser known Grant film, but he shines with Moore

[vincentlynch-moonoi · 7/10 · 10 November 2016]

Darn! Sad to see that as of November 2016 this title is still not out on DVD. It's a shame because I really enjoyed this film.

It stars Cary Grant...my personal favorite actor (along with Spencer Tracy), although he gets second billing to Grace Moore.

I was not familiar with Grace Moore, and to be honest -- her kind of singing (operatic soprano) is not my thing at all. But I was truly impressed with her singing and her acting. And, it was hoot seeing her sing "Minnie The Moocher" (which at one time was cut from the film, but has since been restored in this fresh, new print as broadcast on TCM).

Cary Grant is excellent here, too. It's that kind of "torn" Cary Grant -- sullen at times, magnetic at other times. And if you want to see the best Cary Grant smile on film...wait for the ending.

The story is not particularly unusual -- in fact part of the plot reminds me greatly of another film I saw...but can't remember the title for the life of me, now which came first. The operatic singer is in Mexico trying to get into the States to help an old friend with a musical gala...but can't because she is not an American citizen. Meanwhile, Cary Grant can't leave Mexico due to unpaid bills. So why not marry temporarily and solve both problems? Of course, they do actually fall in love, but her success and his failure to understand why that success is important sinks the relationship. Or does it? In addition to Moore and Grant, another major supporting actor is Aline MacMahon, who (as she often did in film) managed to steal a few scenes as Moore's aide de camp. Another wonderful character actor -- Henry Stephenson -- plays the conductor, and while it's always a pleasure seeing him in a film, he doesn't have a lot to do here, although he is important to the story line. Thomas Mitchell is around as (again) a newspaper reporter, although he doesn't have much to do here.

It seems to me that Grant and Moore fit together nicely in this film, which helps it rise above a somewhat standard plot line (although the opera angle is a bit different). And, some of the sets for musical numbers were quite impressive.

Very nicely done. I'm hoping I can add it to my DVD collection before long.

Grace Moore carries this weak film; one of Cary Grant's lesser roles

[SimonJack · 6/10 · 17 July 2021]

"When You're in Love" is one of just a handful of movies that Grace Moore made. She was one of a few female singers with opera voices who made films mostly in the early two decades of sound pictures. Jeanette MacDonald is the best known of this group for the nearly 30 musicals she made. Kathryn Grayson was another, who played Moore in the 1953 musical biopic, "So This is Love." Jane Powell and Deanna Durbin were popular in the mid-20th century.

Moore has a beautiful voice and the looks to go with it. But here she plays Louise Fuller in a goofy plot in which she's an Australian performer who has been kicked out of the U. S. beyond her authorized presence for performing in New York opera. So, she's in Mexico biding her time until she can get back into the U. S. under an Australian quota. But that's a long time in the coming, so her agent has a fix and she winds up marrying an expatriate American painter who's also in Mexico. It is weird, indeed, but then how else would this story be configured?

Anyway, Cary Grant is that guy, He plays Jimmy Hudson in a fairly common type of role he had in the 1930s. Sort of a rebel, antagonist, critic of society, etc. His persona is not the lovable and very likable Cary Grant that movie fans would come to relish in the 1940s and 1950s.

The comedy isn't at the level fans came to appreciate in Grant's later movies, either. Moore has a very good and comedic scene when she sings "Minnie the Moocher," Cab Calloway's 1931 hit tune, albeit, a little cleaned up version. When Louise and Jimmy get married in Mexico, they are in front of a JP who speaks only Spanish. They are holding hands but looking away from each other - talking to someone else. A woman witness prompts them when it's time to say "Yes," or "I do." Obviously, this marriage wasn't meant to convey a commitment to love and sacrifice. Quite funny!

Anyway, they get back to America, and between scenes they start to fall for one another. She discovers his background in a scene where Jimmy takes her into the country to get away from the crowds. This is worth seeing just for the obvious set that was used and the filming with animals in a lakeside forest. That would have been some sound stage to see in 1937.

My six stars for this film may seem generous, because the plot and screenplay aren't that good; nor is there much comedy. But Moore's singing is very good and it's always a pleasure to hear and see such great talent perform on film. Moore died in a plane that crashed on takeoff at Copenhagen, Denmark, on Jan. 26, 1947. She was just 48 and had performed for a packed house of 4,000 people the night before. During and after WW II she entertained American troops abroad for the USO as well as other Allied troops in Europe.

Here are some of the better attempts at humor.

Hotel Manager (Enrique de Rosas), "You have already made of me one picture. You make me look like a bum." Jimmy Hudson, "Can I help it?"

Jimmy Hudson, after Louise pulls the pipe out of his mouth and throws it on the floor, "You're gonna throw things, huh?"

Mrs. Hamilton, "Well, you haven't the brains you were born with." Jimmy, "Well, maybe I haven't." Toots Hamilton, "I know you haven't." Jimmy, "All right. All right." Toots, "All right."

Mrs. Hamilton, "You've been skedaddling around for years. And when you find the real girl, you let slip away from you."

Amusing Screwballs

[LeonardKniffel · 7/10 · 1 May 2020]

Here is a "screwball comedy" with music. Cary Grant and Grace Moore play two screwballs stranded in Mexico who must wed in order to solve their problems with the border patrol. The film seems designed to firm up opera singer Moore' movie-star status and establish Grant as Hollywood's most charming leading man, and it does so quite amusingly. The top musical treat is seeing Moore perform "Minnie the Moocher," Cab Calloway's decidedly unoperatic signature song. Along the way we get to hear Puccini and Schubert as well as couple of songs written by Jerome Kern and Dorothy Fields. Favorite line: Cary Grant saying he needs "a martini, with the speed of an antelope."

"Why don't you give up this Punch and Judy existence?"

[utgard14 · 5/10 · 23 January 2017]

So-so musical romance starring Grace Moore as an Australian opera singer who marries American artist Cary Grant to get back into the United States for an important concert. He tries to win her over with predictable results. Not great stuff but pleasant enough I suppose. Notable for being the only movie directed by screenwriter Robert Riskin (he also wrote this). Also worth mentioning for Moore fans that, in addition to a few opera numbers, she sings "Minnie the Moocher" here. Let's just say it's not likely to be the best rendition of that song you've ever heard. Really, this is one for Grace Moore fans more than Cary Grant ones. He does perfectly fine with his role, don't get me wrong. He's charming and likable as usual. But it's just kind of a dull part for Cary. The supporting cast is nice but greats like Aline MacMahon and Thomas Mitchell are wasted in cardboard cut-out roles. See it for Grace or if you're a Cary completist. Or, heck, see it if you're really into opera (I'm not).

Grant, Moore and McMahon are funny!

[mrfabulocity-1 · 10/10 · 25 July 2005]

Another light hearted romp from the 30's. Who doesn't like Cary Grant? This is an early glimpse into the comedic side of the Cary Grant we loved in so many films he made afterward. Miss Moore lights up the screen with her singing. Grace Moore was an opera star from the Met that found her way into film. She was nominated for Best Actress for her 1934 film "One Night of Love". Here an Australian opera singer needs to get to America but cannot get over the border and agrees to a plan. This movie has quite a bit of charm. I love the scenes of Mexico. One song in particular is a bit overdone but, all in all this is a nice romantic film. It may not be Shakespeare but it's a lot of fun.

Is it Shirley Temple or isn't it?

[barbecuedbanana · 6/10 · 14 March 2006]

I quite enjoyed this as something to watch in the afternoon with a cup of tea and a biscuit. This makes me sound about 110 but I'm only just over 40 LOL Nice story - I've got Skyplus so I could fast forward over the horrible singing. The Opera Star's side kick was definitely the best part of the film, she was smart and the screen lit up whenever she was in a scene.

But in the scene where all the kids come down from the Music School upstairs to listen at the feet of the 'Queen' - was that Shirley Temple or not? It looked like her to me, did they have look alikes in those days? Not something to watch if there's anything good on instead.

A workable premise fizzles out early

[robb_772 · 4/10 · 19 November 2006]

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.

Fun, Fun, Fun

[MrFabulocity · 10/10 · 14 October 2007]

I really enjoyed this movie because I just sat back and listened. Dissection is no fun in film. This is a breezy romp rather than ART! I laughed and had a good time. I enjoyed Cary Grants early performance and adored Grace Moore's singing. Ailene McMahon was a regular Eve Arden pre the spunky Eve herself. The odd part is that Grace plays an Australian opera singer with her American accent while Cary Grant plays an American with his English accent. Miss Moore needs to find a way into the country since she doesn't have permission to enter the states. The border guards must have been much tougher in the 1930's! If you can get your hands on this film just sit back, relax and enjoy.

Robert Riskin, don't quit your day job.

[F Gwynplaine MacIntyre · 2/10 · 1 September 2004]

"When You're in Love" is notable for two trivial reasons, neither of which brings any merit to the movie.

The first trivium is that silent-film star Louise Brooks appears in this film as a chorus girl. In 1929 Brooks had poisoned her Hollywood career, refusing to participate in the re-shooting of one of her silent films as a talkie. Eight years later, trying to recover her brief stardom, Brooks was desperate enough to strike a one-sided bargain with low-budget studio Columbia: former Denishawn dancer Brooks would accept a chorus-girl role in "When You're in Love", at a chorus girl's wage and indistinguishable from any of the other chorus girls. Columbia would circulate photos of Brooks in the chorus line, hoping to drum up publicity for this film with the angle of the ex-star beginning all over in the chorus. The back end of this deal was that Columbia promised to give Brooks a starring role afterwards. The chorus-girl angle did nothing to save the box-office of "When You're in Love", and the starring vehicle never came.

(I find Louise Brooks very sexy, but most of her fans seem very creepy. The Louise Brooks cult is determined to delude itself that Louise Brooks herself was identical to the character she played on screen. Most Marilyn Monroe fans are creepy too, for the same reason.)

The second trivium is that "When You're in Love" is the only film ever directed by screenwriter Robert Riskin. Riskin was the principal scripter on most of Frank Capra's best films: most of the distinctive touches that define Capra's movies are actually Riskin's creations. When Riskin resented that Capra got all the credit for their collaborations, Capra suggested that Riskin should try to direct a film himself. This movie was it... and a very bad directorial debut. In his autobiography, Capra was openly gleeful about the flop of Riskin's one directorial effort.

"When You're in Love" stars opera singer Grace Moore, which is part of the problem. Opera singers tend to be failures as movie stars. The success of Jeanette MacDonald was due much more to her sex appeal rather than to her singing voice. Ironically, one of the few opera singers to succeed in movies was Geraldine Farrar: a box-office hit in *silent* films. Grace Moore lacked Jeanette MacDonald's sex appeal and acting skills. Hedging their bets, the producers of "When You're in Love' have larded this film's score with music that's highbrow, lowbrow, middlebrow and everywhere else on the brow spectrum: some genuine opera, some operetta, some Jerome Kern. The most ludicrous moment occurs when Moore dresses up as Cab Calloway and sings 'Minnie the Moocher' with bowdlerised lyrics. It's not pretty, folks.

The plot, you ask? Nobody sees a movie like this for its plot. Well, if you insist. Grace Moore plays a successful opera singer, who - as an implausible publicity stunt - gets married in name only. Her husband is a charming ne'er-do-well, played by Cary Grant. Guess what happens in the last reel. Go ahead, have a guess. It really irritates me to see movies about a woman who falls in love with a completely irresponsible jerk because he's handsome and charming. This happens in real life too, but I don't need to see it in the movies.

"When You're in Love" is froth, utterly without substance. That's no crime, but the bubbles in this champagne have gone very flat indeed. I found this film tedious. Many of the musical numbers were extremely dull, and all of them were badly staged. Some character actors whom I've liked elsewhere (Henry Stephenson, Luis Alberni) give listless performances here. Robert Riskin was a brilliant screenwriter but this is one of his poorest efforts. Based on this one film, he shows absolutely no talent for directing, although perhaps he might have acquired the proper skills if he'd continued. (One of the greatest scriptwriters of all time, George S Kaufman, also directed only one film ... but Kaufman was a brilliant stage director.) I'll rate 'When You're in Love' precisely 2 points out of 10.

Only for folks who MUST see every Cary Grant movie....

[planktonrules · 3/10 · 1 June 2016]

Grace Moore was a very odd leading lady in Hollywood. She was only moderately pretty and her biggest asset was her operatic songs...and Columbia Studios tried for several years, unsuccessfully, to make her a star. However, her career in Hollywood only lasted nine films until they gave up. Don't feel sorry for her, however, as Moore was a very accomplished singer and was world famous for her performances...not bad for a girl from Tennessee!

This is one of Moore's last films and it's pretty much the same sort of formula they'd use in the next movie, "I'll Take Romance"...though this later film is a bit better. In this case, she and Cary Grant have an on again off again relationship until ultimately she realizes what a fine catch he is and they live happily ever after. The story is predictable but could have worked if she didn't keep breaking into song. These are NOT the normal plebeian sort of songs most folks enjoy but operatic...and they do NOT age well. In fact, they make the film a real chore to finish. The only reason I did is that I would like to one day say I've seen all of Cary Grant's films...even the bad ones. And, sadly, this one is pretty bad.

Grace Moore shines brightly.

[davidallen-84122 · 10/10 · 29 June 2020]

I have always loved the voice of Grace Moore but until purchasing "When You're in Love",had never seen her on the screen.It has been love at first sight and I am more impressed with Grace than I could ever have imagined.Not only does she sing superbly in this film but she is very charming and ravishingly beautiful.The plot may be a trifle silly at times but things move along at a nice pace and a very young Cary Grant certainly adds to the fun of it all.The musical offerings are varied and most enjoyable and I particularly relish the outdoor scene where Grace sings 'Our Song' to Cary as they fall in love ; her voice sounds so sumptuous here and it's my favourite of all her songs.I play it over and over. My ambition now is to acquire as many Grace Moore films as I can but at least this gem will keep me going for quite awhile.

Don't bother watching this awful excuse for a movie

[marthawilcox1831 · 1/10 · 2 July 2014]

As a Cary Grant fan I wanted to learn more about his track record leading up to 'North by Northwest' which is why I watched this film. Don't waste your time. It is not a movie, it is a poorly made excuse to add to Grant's credit list. It fails to provide any interesting characters or engaging storyline. The script is poorly written and it is poorly directed. No wonder it hasn't stood the test of time. Grant is not convincing as a tough guy pushing people around. Nobody would put up with him today. It has shades of him acting tough in 'Mr. Lucky', but nowhere near the quality of 'The Last Outpost' or 'My Favourite Wife'. It's fair to say that most of Grant's 1930s films weren't very good.