Gojira ni-sen mireniamu (1999)

Darling, do you remember the man who walked into the Bank of Constantinople
....and walked out with the Bank of Constantinople? Main character, Gaston Monascu (Herbert Marshall) cheekily asks Lily Vautier(Miriam Hopkins) - his seconds-to-be-beloved in crime & love making.

I AM SO HAPPY THIS MAGNIFICENT FILM IS FINALLY AVAILABLE ON DVD!!!! If you don't love this movie - you must be dead already.

Lubitsch films should be shown to those who are feeling suicidal for they imbue such an intense heady love of life they are a cure-all to any malaise. After viewing a selection or if only one Lubitsch movie again & again (my prescription would be hands down for this one) not only will you joyfully choose life but you will see the world with a healthy beating heart refreshed, renewed & invigorated cheerful soul.

The wondrous deep-love-of-life affect after effect (and during in my experience) of viewing a Lubitsch film cannot be adequately expressed nor explained in mere words no matter what the chosen language may be. Although in this marvelous film (imho one of the top 10 - perhaps even 5 - very best films ever made on American soil) the many "languages" spoken - several or perhaps all of which are nonsensical jibberish (except the English & if I consider the hysterically funny dialogue between Charles Ruggles & Edward Everett Horton I may have to reconsider) executed so comedically well it boggles the mind if the foreign language lines were improvised or actually read as written.

The reason for this absolutely hilarious recurring jibberish language devise in Lubitsch's movies are unknown to me & I prefer it that way. Sometimes learning the behind the scenes of a film simply ruins the exquisite art of it all for me.

The dialogue (the true British, jibberish & Continental American affected accents) are so superbly written & delivered it makes one wonder what in the world is wrong with current day scriptwriters who have a much easier access to not only travel but foreign languages & the nuance of accents so much more than back then. But I believe this film is a fierce testament to the true power of pure unbridled imagination & fine craftsmanship.

The dialogue by (I'm not certain which writer or if it was all due to Lubitsch) Aladar Laszlo (playright)Grover Jones (screen adaption) or Samson Raphaelson is nonpareil. Take for instance Gaston & Lily's first date together:

Lily Vautier: I have a confession to make to you: Baron, you are a crook. You robbed the gentleman in 253, 5, 7 and 9. May I have the salt?
Gaston Monescu: Please!
Lily Vautier: Thank you.
Gaston Monescu: The pepper too?
Lily Vautier: Oh, no, thank you.
Gaston Monescu: You're very welcome. Countess, believe me, before you left this room, I would have told you everything. And let me say this, with love in my heart: Countess, you are a thief. The wallet of the gentleman in 253, 5, 7 and 9 is in your possession. I knew it very well when you took it out of my pocket. In fact, you tickled me. But your embrace was so sweet.

Herbert Marshall has never been so suave, so seductive & so perfectly matched to a film role (although I feel he was absolutely wonderful & is very sadly underrated these days in several like Wyler's, The Little Foxes & Hichcock's, Foreign Correspondent). If the academy ever wishes to create a posthumous award for best performance(s) ever overlooked by the Oscars the very first statuettes should be awarded to Marshall & his comrades in this very very special comedy.

Blonde Venus, Miriam Hopkins is beautiful & excellent as Gaston's anima-equal. Brunette Venus, Kay Francis is gorgeous & just as equally perfect as the wealthy widowed, generous-hearted, Madame Colet (another aspect of Gaston's anima I suppose). Sometimes I delight in imagining what if Lubitsch would have had his male protagonist live happily ever after with both his blonde & brunette goddesses? The mind & heart joyously reel watching this movie. (Lubitsch actually explored such a menage-a-trois in another pre-code film a year later in Noel Coward's, Design for Living!)

With all due respect to a former reviewer who complains that the DVD cover belies the "look" of the film - I feel this opinion is completley misguided. After all, how many films were done in color in 1932? The color jacket of the DVD is not a misleading marketing ploy of Criterion. I mean come on?! Movie posters & magazine film stills were frequently done in color back then even though the film was shot in black & white.

I could even watch this very quotable film with the sound off if only for the pleasure of viewing the exquisite art deco sets by Hans Dreier, the sublime gowns & wardrobe by Travis Banton & excellent cinematography by Victor Milner.

There isn't one weakness or fault in this movie except that I cannot enter the screen & join in the story. That I am afraid may be something which the 21st century virtual world can remedy. If this science ever comes to pass - this is THE movie (withut a doubt) I would choose to live in.

My goodness! And this was what they produced in a so called "depression"!? My mind swaggers & sways for our blessed 21st century to find her grounding & return to the glory, beauty & love of life which the artistic masters, like Lubitsch gave so lovingly to us all.

A more beautiful, funny, magical & grand love of life film you can ever wish to see has never since been made.

(Amazon has listed incorrect names. For correct info on stars, director, producer etc....check out IMDB.)

"If you behave like a gentleman, I'll break your neck!"
Trouble in Paradise is a great example of a sophisticated pre-code. It revolves around some thieves played by Herbert Marshall (Gaston) and Miriam Hopkins (Lily). Gaston manages to steal a wealthy woman's purse (Kay Francis) and when she offers a reward for its return, he goes to her and not only secures her trust, but gets a job managing her finances. This is the perfect setup for him and his girlfriend, but when he begins to fall in love with his benefactor, there is trouble.

The high-class humor surrounding the risqué topics are characteristics of director Ernst Lubitsch. His subtle wit floods the film, but it is difficult to describe the entire effect he had on film-making. It is obvious by the documentary-like introduction by Peter Bogdonovich, the audio commentary by Scott Eyman, and the tributes to Lubitsch by various Hollywood figures that his unique touch has left films since the director's death, an unfortunate occurrence.

The 1917 silent film Das fidele Gefangnis (The Merry Jail) is also included. Directed by Lubitsch in Germany, this film is slightly ahead of its time in style. The sets are enormous, especially the home of the couple, though it is not necessary. The cast is very good, particularly Kitty Dewall whose pretty smile lights up the screen. When a husband whose hobby is nightclubbing is sentenced to a night in jail, he decides to skip the jail time for another party. His wife tricks an admirer into serving the time for him while she masquerades as a stranger at the party to see just what her husband is up to while she stays up at night waiting for him.

A frivolous masterpiece
What a film! There is absolutely nothing to compare nowadays to the subtle, insinuating, sexy comedy of Ernst Lubitsch. This landmark film is now readily available through this superb Criterion package. The film is perfectly constructed and executed, to be viewed again and again and discover more tricks and nuances each time.

Miriam Hopkins and Herbert Marshall play two thiefs who infiltrate the life of Kay Francis to fleece her. However, Marshall falls for Francis and complications ensue. All the players are terrific. Miriam Hopkins, who always overacted, works well here in the artificial setting. Marshall is suave and handsome but it is Kay Francis who steals the film. She is superb.

The DVD print is very good and there is an excellent commentary which identifies carefully throughout the film the director's touch while noting the contribution of writer Samson Raphaelson, Lubitsch's main collaborator. In addition, the DVD contains a very funny radio program in which Lubitsch himself appears with Jack Benny and Claudette Colbert. Also included is an interview with Peter Bogdanavich which summarises the importance of Lubitsch, also reflected in the written comments about the director from famous colleagues, directors and historians. Finally, the package includes a rarely seen German silent film, directed in 1917 by Lubitsch. The film is a marital farce and quite funny, an early demonstration of the skill of the director.