Screwball gems INTRODUCTION
I am a very huge fan of screwball comedies. I often review more screwball comedies on my blog often also I review many noir classics and talk about Hitchcock often. I would say they are my three favorite movie areas to talk about. I love fondly screwball comedies. Films definitive of the genre usually feature farcical situations, a combination of slapstick with fast-paced repartee and show the struggle between economic classes. Films definitive of the genre usually feature farcical situations, a combination of slapstick with fast-paced repartee and show the struggle between economic classes. They also generally feature a self-confident and often stubborn central female protagonist and a plot involving courtship and marriage or remarriage or cross-dressing. Some comic plays are screwball in nature. It was a genre that was made in movies until 1942. Many films of the 1950’s also have traits of screwball comedies. Its time to talk these classics for my new theme for this month of the month called screwball gems. Today I review Trouble in Paradise (1932) for the start of my themed month of reviews.
Trouble in Paradise (1932) review
This pre-code sophisticated comedy epitomizes the European attitude toward sex. It is more open in sex. It is pre-code in that nature toward how it plays sex. It is based on Laszlo Aladar’s play The Honest Finder which was the springboard for the movie. The sexual undertones are very frank. I would not call it as sexually open as Design for Living which is far more sexual in nature. This was a taste of what was to come for his works. Trouble in Paradise is a comedic counterpart to a melodrama.
Lubitsch was best known for what we call the Lubitsch touch is a subtitle way of referencing sexual shenanigans that his characters do upon the screen. Lubitsch’s Magnum Opus faced controversy three years after its initial release because of the conservatism of the Production Code. This pre-code sophisticated comedy epitomizes the European attitude toward sex which is more open in sex that feels modern. . The movie is tamer than his other film design for a living for its sexual tone on the screen. It’s a spellbinding comedy classic about a a suave jewel thief (Herbert Marshall) falling in love with his intended victim (luminous Kay Francis) much to the displeasure of his girlfriend (Miriam Hopkins) whom all give out wonderful performances in their respective roles for the screen. . Kay Francis steals this film as she truly shines in her wonderful role that is hard to do with Miriam Hopkins. She is exquisite and enchanting and absolutely charming. Miriam Hopkins gets the better comedic lines and the guy even if lesser then Kay she still gives out a marvelous performance. Herbert Marshall shows an unexpected flair for light comedy while Charlie Ruggles and the ubiquitous Edward Everett Horton provide their usual first class supporting roles that that truly shine in their performances on the screen. Ernst Lubitsch crafts out a masterpiece of early comedy that truly shines in every manner making it a must see comedy classic for all time.
The Ruth Rating: