- by Zoë
Unable to get a visa
to enter the U.S. opera star Louise pays Jimmy to marry her. The arrangement
is that they will have a quick divorce. After the ceremony, the couple go
their separate ways. Later on, they fall in love for real.
- by Zoë
Cary Grant is Jimmy Hudson, an American artist with little
money and a passion for opera, who travels about the world as he pleases....often being
thrown out of hotels for not paying the bills! The film starts in Mexico in a hotel where
Jimmy is being thrown out, and rich and famous Australian opera singer Louise Fuller
(Grace Moore) is staying. Hudson admires Fullers early work but believes she has lost
something in her recent recordings. Hudson calls Fuller "Queen" in disgust at
her money and entourage. Fuller is in Mexico awaiting a quota number from Australia so
that she can return to the USA (where she was thrown out for overstaying her visa). News
comes through that it will take 1 - 2 years this to happen, but she needs to get back
sooner than that to take part in Uncle Walter's music festival.
An arrangement is made for Jimmy and Louise to marry for
convenience. The moment they meet the arguments begin. Jimmy is to receive $2000 at the
marriage, and a further $5000 after the divorce (providing this happens within 6 months).
Louise gets to return to the USA since she is married to an American citizen. After the
wedding in Mexico (at which they face in opposite directions!), the couple go their
separate ways. But later Hudson turns up at Fuller's home.....they resume their arguments,
but eventually their love for each other emerges.
This is one of CG's films that is often overlooked, and
hard to get hold of. This is a shame because it really is a very funny, very original (for
its time!) film. Cary Grant is on top form, and his comedic timing and expressions
(especially when he finds out who "Queen" really is) are perfection. A dog
called Squeezit, Grace Moore's rendition of "Minnie the Moocher" with Cary
accompanying her on the piano, and a great script all combine to make this, in my opinion,
one of Cary's best films.
Film Review - February 24, 1937
- by "Land"
- submitted by Barry Martin
'When You're in Love' should do nice biz. It represents
skillful manipulation of star, cast, and music values. With
the singing the main excuse, and the story the main fault,
narrative is not very spirited in creating tension or situations
but contrives to spin a frothy romance. It also has giggles
at frequent junctions, so the net result is fairly amusing
entertainment in the Grace Moore style and series, despite that
the feature is far beyond its needs as to length.
Care, as usual, has been exercised
in handling the star and in blending her vocal opportunities into
the mechanics of the story. She is well photographed and
systematically given the benefit of the finesse of every
department from makeup to costuming. Showmanship, to spread
almost reverential glamour about the star, is manifest in the main
title being followed by two minutes of aria before the rest of the
credits are gradually flashed.
This glamour treatment does not
neglect the job of trying to lighten up the operatic tinge.
At one point Miss Moore tosses of 'Siboney' in Spanish.
Later, and for the piece de resistance, she whams across 'Minnie
the Moocer.' Lily Pons, Helen Jepson and Gladys Swarthout
did this as a trio at a New York benefit performance. At the
Music Hall the audience applauded the Moocher novelty.
Operatic training is hard to get
away from. Miss Moore is clever enough to achieve a
creditable slumming impersonation, so fans will think her
cute. It's the 'regular fellow' sort of thing Columbia has
conscientiously aimed at in her case. Only the minority will
probably realize that paper darts are tough for a
javelin-thrower. Inevitably the Grace Moore films, likewise
those of other sings such as Tibbett, Lily Pons, Gladys Swarthout,
et al., are fighting every minute against a certain stiffness
inherent in their type of singing.
This time Miss Moore is an
Australian diva marooned in Mexico, anxious to get into the United
States but barred by immigration authorities. A marriage of
convenience is arranged to an American (Cary Grant) with whom she
ultimately falls in love. It's fluffy confectionery, and
there are over-done and over-long touches in the film, although
this is essentially synthetic and surface lacquer. But the
fans will probably vote it pleasant fudge. And will think
Cary Grant pretty swell opposite the star. He has the only
real part except for Aline McMahon's brave resistance.
Various small bits are written and directed by Riskin with his
flair for plot embroidery. Although no one performance, bit,
or scene is particularly memorable, in the aggregate they score a
tally of points that shoves the film over the line.
Credits are owing generously to the
cameraman, Joseph Walker, who has done a fine job. Only
once, and ironically at the very start of the picture, is the star
at a disadvantage. Then for a hundred feet or so the
artificial eyebrow well above the natural line is badly
exposed. Another slight flaw, and noted two or three times,
is when the words of the star are not synchronized with the lips.
Jerome Kern-Dorothy Fields music
and lyrics have been directed by Alfred Newman and photographed
against ensemble production handled by Leon Leonidoff.
Production stuff is pretentious and artistic throughout. Of
the best numbers 'Our Song' seems best.
Riskin, author, is also Riskin,
director, here. His principal weakness as a director is
obviously his inability, or unwillingness, to cut.
NEW YORK TIMES Film Review - February
- by Frank S. Nugent
- submitted by Barry Martin
Considering his treatment
of "Mr. Deeds" and other lively comedies, we had hoped that Robert
Riskin's first effort as writer and director would have been a trifle more
mettlesome than it is. But promotions make conservatives of us all and Mr.
Riskin probably felt it was wiser to play safe in preparing and bringing a
new Grace Moore picture to the screen. "When You're in Love,"
which opened yesterday at the Music Hall, is little more than a glib
reworking of an ancient operatic formula. It is agreeable, tuneful and
slight and there is no reason why it should not prove as entertaining today
as it did five, ten or twenty years ago.
Mr. Riskin reminds us of the old
story about the attractive young woman - here an Australian
prima donna - who finds a husband a necessary adjunct and hires,
at so much per ceremony and so much per divorce, the first
available man her attorney can produce. Mr. Riskin has invented
for the occasion a foot-loose young artist, of the Cary Grant
type, to go through the mock wedding and thereafter, through
thick and thin plot maneuverings to convince his
wife-in-name-only that they were meant for each other and for a
free, untrammeled life, Selah!
Not having much help from Mr.
Riskin, Miss Moore has placed most of her faith in Verdi,
Puccini, Schubert, Jerome Kern and an upstart called Cab
Calloway. They deserve it, of course. Her rendition of
"Serenade" is delightful; so is her singing of the
waltz aria from "Romeo and Juliet" and of Harrison's
old favorite, "In the Gloaming." The recording
implements were less kind in at least two of the Kern
interludes, diluting her voice to the point of thinness in the
"Whistling Boy" song and in certain phases of the
"Our Song" number.
The comic highlight of the
production, naturally, is her energetic interpretation of Mr.
Calloway's "Minnie the Moocher," with gestures and a
wealth of hi-de-ho's. In flannel shirt and trousers, accompanied
by a dubious five-man band, Miss Moore breaks down - as Lily
Pons once did at a Met party - and lets her vocal libido run
riot. She seemed to enjoy it, the audience found it a frolic and
we regretted that she was unable to heed the applause and crash
through with a few more choruses. Despite the confusion,
however, we did notice that the censors took out the reference
to the King of Sweden who gave Minnie whatever she was needin'.
Now it's the King of Rythmania, who filled her full of vintage
As a postscript we might add that
the picture could have stood a few more comic touches, that ti
takes a long time getting started and that Mr. Grant, Aline
MacMahon, Thomas Mitchell, Emma Dunn and George Pearce are quite
all right in the assisting roles.
- by Kathy Fox
This is Cary Grant's 26th
film and his only film with the lovely opera singer, Grace Moore. This
is one of my most favorite early films of Cary's. He has made 26 films
in five years and is fast becoming a leading man. This film is the
great love story of Louise Fuller (Grace Moore), an Australian opera singer,
and Jimmy Hudson (Grant), a wealthy American artist, who meet in Mexico.
Fuller needs entrance into the United States in order to perform at a music
festival being put on by her old maestro, Walter Mitchell. Louise is
detained at the border, along with her crazy entourage, and a scheme is
hatched to get Louise into the states: marry Jimmy Hudson and then
divorce him. But Hudson already has his eye on Louise and falls in
love with her. He invents schemes in order to be with her and finally
takes her to meet his friends, Mr. and Mrs. Hamilton, at their home in the
woods. This is where Louise falls in love with Jimmy. But too
many complications arise when Jimmy wants to take Louise to the White
Mountains and she has to keep her promise and sing for Walter Mitchell.
Jimmy goes to Mexico to seek a divorce and comes to the opera to give Louise
the papers. Louise can't go on because she can't sing from being so
upset about Jimmy's getting a divorce. They end up happily though.
This movie has many cute and lovely songs, among the cute ones, a song
called "Minnie the Moocher," sung by Moore, accompanied by Cary at
the piano, which is unforgettable. This movie will tug at your
DAILY TRIBUNE Film Review - March 14, 1937
- by Mae Tinée
- submitted by Renee Klish
Personality Glows in Her Latest Flim
There's a quaint and human
something or other about this new Grace Moore release that makes
it mighty intriguing.
The not particularly remarkable
story drifts along effortlessly, buoyed up by charming music and
rendered picturesque by the good looks of the leads and some
entrancing scenery. The tale unfolded is that of an
Australian diva, Louise Fuller.
To comply with United States quota
laws the beautiful songstress weds the handsome American artist,
Jimmie Hudson, meaning to end this marriage of convenience as soon
as she is back in the states. Get there she will, she will,
she WILL! Because, you see, she has promised to appear in a
song festival conducted by an elderly impresario to whom she owes
a debt of love and loyalty . . .
Reunited at Brilliant Grand Finale
Now the lady and her husband are as
friendly as two strange bulldogs until a period spent together in
Jimmie's mountain lodge changes all - for a brief period.
Then the exigencies attendant on the lady's job irk her mate, lead
to misunderstandings, and separate the two for a time.
They are reunited at the festival
which forms the grand finale.
The action has a quiet sparkle.
An especially pleasing scene is one
in which Miss Moore sings "The Whistling Boy" to a
galaxy of children who have followed her into a rehearsal hall -
and romantic souls will love no end the episode in the woods which
leads up to those in the lodge - which such souls will also go for
in a big way . . . The star's proposal to Mr. Grant in a Mexican
jail is amusing.
Cary Grant Pleasing as Romantic
Miss Moore sings her customary sort
of thing delightfully and gives a rendition of "Minnie the
Moocher" that is funny and clever and proves her without
doubt a diva of versatility. She has a heart-warming
personality, as you know, and, I thought, looks prettier in this
picture than I've ever seen her.
Cary Grant carries his role
pleasingly. Best thing he's done in a long time. Aline
MacMahon contributes ingratiating humor as the singer's
secretary-friend. Henry Stephenson gives one of his polished
portrayals as the orchestra conductor.
All other players are patly
cast. Direction - easy and astute. Dialog - effective.
I trust you've gathered by this
time that "When You're in Love" isn't hard to take.
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