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"When You're In Love"

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Character's Name: Jimmy Hudson
Release Date:  February 27, 1937
Director: Robert Riskin
Studio:  Columbia
Running Time: 110 minutes

Cast: Grace Moore (Louise Fuller), Cary Grant (Jimmy Hudson), Aline MacMahon (Marianne Woods), Henry Stephenson (Walter Mitchell), Thomas Mitchell (Hank Miller), Catherine Doucet (Jane Summers), Luis Alberni (Serge Vilnikoff), Gerald Oliver Smith (Gerald Meeker), Emma Dunn (Mrs. Hamilton), George Pearce (Mr. Hamilton), Frank Puglia (Carlos)

- by Zo Shaw
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 Zo Shaw
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.

VARIETY 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 19, 1937
- 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 champagnia.

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 heartstrings.

CHICAGO DAILY TRIBUNE Film Review - March 14, 1937
- by Mae Tine
- submitted by Renee Klish

Grace Moore Personality Glows in Her Latest Flim

Good Morning!

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 of Film

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 Lead

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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