Trouble in Paradise: Lubitsch Before the Touch
By January 06, 2003
“No one would claim that Lubitsch’s German films were more important than his American ones . . . Read more »
When thief Gaston Monescu (Herbert Marshall) meets his true love in pickpocket Lily (Miriam Hopkins), they embark on a scam to rob lovely perfume company executive Mariette Colet (Kay Francis). But when Gaston becomes romantically entangled with Mme. Colet, their larcenous ruse is jeopardized and Gaston is forced to choose between two beautiful women. Legendary director Ernst Lubitsch’s masterful touch is in full flower in Trouble in Paradise, a pinnacle of the sophisticated romantic comedy, loaded with sparkling dialogue, witty innuendo, and elegant comic invention.
| Lily | Miriam Hopkins |
| Madame Mariette Colet | Kay Francis |
| Gaston Monescu | Herbert Marshall |
| The major | Charles Ruggles |
| François Filiba | Edward Everett Horton |
| Adolph J. Giron | C. Aubrey Smith |
| Jacques | Robert Grieg |
| Director | Ernst Lubitsch |
| Screenplay | Samson Ralphaelson |
| Adaptation by | Grover Jones |
| From a play by | Aladar Laszlo |
| Cinematography | Victor Milner |
| Art direction | Hans Dreier |
| Costume design | Travis Banton |
By January 06, 2003
“No one would claim that Lubitsch’s German films were more important than his American ones . . . Read more »
By January 06, 2003
Trouble in Paradise is the most fondly memorable—if rarely seen—Hollywood screwball comedy. . . . Read more »
By January 06, 2003
“No one would claim that Lubitsch’s German films were more important than his American ones . . . Read more »
By January 06, 2003
Trouble in Paradise is the most fondly memorable—if rarely seen—Hollywood screwball comedy. . . . Read more »
August 04, 2010
The Los Angeles–based film writer Sam Wasson—who recently contributed an interview with The . . . Read more »
By January 06, 2003
“No one would claim that Lubitsch’s German films were more important than his American ones . . . Read more »
By January 06, 2003
Trouble in Paradise is the most fondly memorable—if rarely seen—Hollywood screwball comedy. . . . Read more »
“A decent romantic comedy from the thirties, with great dialogue but not so great flow.”