Saturday, February 14th, 2009


I really kind of struggled to figure out exactly what I wanted to write for Valentines Day. I didn’t want to just review a romantic movie. I do that all the time, it didn’t seem particularly special. And I couldn’t really think of a good topic for an essay.

I’m alone on Valentines Day. And I always have been. I’ve never had someone to share the day with. So, naturally, I’m a little bitter toward it. So finally, the idea popped into my head to cover an anti-romantic love story.

I do have a sort of fascination with movies about couples who, while they do love each other, treat each other horribly. And I think the best film of that type would be Look Back In Anger, starring Richard Burton. It was a pretty early film in Burton’s career, and it definitely helped to establish him as the go-to guy for moody, troubled characters.

Burton play Jimmy, a dark man with a horrible temper. He’s married to Alison, played beautifully by Mary Ure. The couple do seem to love each other, but for some reason they can’t stop themselves from completely ripping each other apart. They seem to resent each other – he resents her family’s wealth, she resents him taking her away from it. But that’s really just a part of the problem. These are two miserable people who find satisfaction – but not happiness – in destroying each other.

But still, they’re married. And this isn’t the 1800s where people get married for various reasons, even if they can’t stand each other. They got married for a reason, and we come to see that the reason really is love. They’re two people who are in love but don’t really know how to be. They just know how to hurt each other and themselves. We get a few lovely moments of the two really sharing that love with each other, but overall it’s just the never ending cycle of pain and anger.

Like so many couples, they fail to communicate with each other, and that’s one of the biggest problems. It leads to misunderstanding of each others emotions, to misunderstandings and a lack of trust.

Perhaps their problems come from the fact that they initially loved each other for what might have been the wrong reasons. When they were dating, Jimmy thought that Alison had a relaxed spirit, and he thought he needed that in his life to help him calm down. But after their marriage, he realized that it wasn’t calm that Alison had, she just suppressed her feelings, and marriage to Jimmy made it all come out.

In the end, though, I think it’s almost a hopeful movie about love. It ends on a kind of up-in-the-air note. Alison leaves Jimmy, and he takes up with her best friend Helena, played by Claire Bloom. These two have a sort of opposite relationship than Alison and Jimmy. While Alison and Jimmy had love first, that turned to anger, Helena and Jimmy hate each other and that passion turns to love (or something resembling it). But in the end, Jimmy loves Alison and Alison love Jimmy. She loses the baby she was pregnant with, and this loss makes them re-evalute their love. No matter how much pain their in, or how far apart they are, all they can think about is each other.

The loss of their child is definitely a strong point in their reunion. Jimmy tells Alison that it isn’t his first loss, and Alison tells him, “It was mine.” Perhaps Alison needed to experience a loss like that to really begin to understand Jimmy and his anger.

We’re left with Jimmy and Alison, not together, but not apart.

By Katie Richardson

Direct Link

Photobucket

1932

Director: Ernst Lubitsch

Cast: Miriam Hopkins, Herbert Marshall, Kay Francis

Since Valentines Day is tomorrow I tried to brainstorm on which films I’ve seen that best exemplify aspects of both romance and cinema from Hollywood’s Classic Era. Maybe it’s because I’ve seen it recently or the fact tha I just completed a Miriam Hopkins countdown on another website, but Trouble in Paradise hits the sweet spot. The acting, direction, and narrative thread for this film are such a potent combination that Lubitsch’s great comedy is considered among the best movies ever made. But enough of that already, lets get to the romance: you get two great love stories for the price of one here. Although Marshall and Francis never consummate their attraction physically, the perfume heiress and the thief share several moments where you swear they are making love mentally. It is Hopkins’ grifter that holds the key to Marshall’s heart, however. They were made for each other and when Hopkins lets out a squeal of joy upon hearing Marshall’s commitment, it is an affirmation that romance isn’t dead. If you’re looking for a good Valentines Day movie to watch this weekend, look no further. This is the picture.

Here’s a review of Trouble in Paradise that I wrote on January 15th of this year:

This movie is a scream.

It is said that this is Lubitsch’s favorite of all the films he made and boy, you can see why. If someone were to ask me what the best example of a Pre-Code comedy is, Trouble in Paradise comes immediately to mind.

MH (Lily) plays a jewel thief who poses as a visiting aristocrat in Venice. She meets Gaston Monescu — played wonderfully by Herbert Marshall — the greatest jewel thief in the world who is pulling the same charade. He arranges for a private dinner in his suite. As the two discuss the banalities of being a baron or countess of the aristocratic class, Lily confesses that she found out he really is the great Monescu and not only is she not disappointed, but she is proud of her chosen profession. What follows is a show of affection and then, in my opinion, the best scene of the film. Each thief starts to reveal what they’ve stolen from their counterpart in a strip poker-esque, escalating exchange culminating in a coup de grace for Gaston. These two thieves were made for each other.

The lovers quickly establish a grift partnership and the road eventually leads to Paris. They seek out the recently widowed Mariette Colet (Kay Francis) whose deceased husband left her the largest perfume manufacturer in France. Gaston scams his way into Mariette’s circle via his considerable charm and hutzpah. Having already stolen her diamond-encrusted purse, Marshall’s character returns it only after a reward is offered. So impressed with his “honesty” and candor, Mrs. Colet hires him as her personal business secretary. To set the con in place, Gaston brings Lily onboard as his assistant. When our protagonist learns that his boss keeps $100,000 French francs in her house safe, the prize is in sight.

To really sell the scheme, the jewel thief does more than just flirt with Mariette. He rolls his sleaves up and discovers some improprieties that have occurred under current management. It is clear that Francis’ widow has strong sexual urges where her new secretary is concerned. While Gaston starts out encouraging her behavior as a necessary part of a successful heist, he becomes quite attracted to the perfume magnate. Hopkins’ assistant is quite jealous of all the unprofessional attention this woman is showering on her man. Yet like a pro, she keeps her eye on the ball and gains Mariette’s confidence. When a previous theft victim recognizes Monescu and then the firm’s chairman of the board accuses him of embezzlement, the thieves fear the jig is up. Amazingly, Madame Colet defends her secretary and they are in the clear even if the window of opportunity has shrunk.

Gaston and Lily agree on the big night, one where Francis’ character will be out on the town for a social commitment. But Marshall’s thief, so smitten with his target’s appeal, can’t resist arranging to consummate their mutual attraction. When Lily finds out about this impending tryst, she is furious and steals the safe’s valuables herself. When Gaston discovers what his partner has done out of jealousy on his behalf, he decides to come clean (sort of) with his employer. He claims to have stolen the $100,000 francs himself, confesses that he is really Monescu the notorious jewel thief, reveals that he can prove her chairman of the board has been embezzling funds for years, and that despite all that’s gone on, he still loves her. Lily comes clean and strikes a bargain with Mariette: she’ll give permission to Gaston for a conjugal visit if she can keep the money she stole. At that moment, Monescu realizes there is truly only one woman who possesses his heart. He tastefully declines the proposition and joins his beloved enroute to the next paradise of their choosing.

Right from the opening scene — Lubitsch’s camera establishes we’re in Venice via a medium shot of a trash-laden gondola — we find moments throughout where this great German emigre is winking at the audience. Even the opening title credits begin with “Trouble in…” and you see a picture of a bed before a pause and then the word “Paradise” comes into view. The dialogue sizzles with sexual innuendoes, double entendres, and very adult, intelligent banter. The three primary players are awesome all around. Marshall is especially effective as the handsome rake and irresistable con man. What to say about Hopkins? She’s cute as a button in this great film. To hear her squeal w/ happiness in the final frame when she knows that Gaston is hers, is to experience a slice of heaven. Avoiding Trouble in Paradise is to miss out on arguably the best comedy of the Pre-Code era.

by James White