Trouble in Paradise (Ernst Lubistch, 1932): USA

We often take sound for granted in movies. Sound effects, music and even silence are all tools that filmmakers use to help them tell a variety of stories on screen. Sound can mask editing, highlight a joke, and emphasis drama. As Ernst Lubistch was establishing himself as one of the greatest early Hollywood directors, he used all of these techniques in his sound masterpiece Trouble in Paradise. Lubistch used sound in a way that effectively expressed drama and comedy that became the convention in almost every Hollywood film. Trouble in Paradise stands out as one of film’s greatest romantic comedy.

The film is a beautiful and witty story about all different kinds of thieves, but the greatest of them all is Gaston, our main protagonist. Though the film is full of clever dialogue and memorable moments, what I will always remember about Trouble in Paradise is the first scene (the first shot even), a gondolier’s song, the breathtaking lights of Venice, and a beautiful canal. Lubistch is readying us for an enchanting romantic comedy. The second scene begins with Gaston trying to smooth talk and steal from the feisty Lily, who is a swift thieve herself. We find that their love is a match made in heaven.

Gaston and Lily then find their big break, the ideal woman to con, the beautiful Madame Mariette Colet. As Colet is quickly getting bored by the two older gentlemen who are bickering over who will be the most appropriate suitor for her, her interest and attention immediately focuses on Gaston, who has become a secretary for Colet. Just as Gaston is acquiring more knowledge on how to rob her blind, he begins to fall for her beautiful allure. A love triangle full of deceit and deception between Gaston, Lily, and Colet (a hexagon if you count the two suitors) then forms. One of the suitors vaguely remembers Gaston from Venice and begins to reveal his secret. Conflict is raised even higher when Lily forces Gaston to decide whom he really loves, a decision he struggles over throughout the film.

The story and dialogue written by Samson Raphaelson is entirely perfect. From Gaston’s smooth one-liners to the spunky/whiny remarks of Lily to the hilarious squabbling of the two suitors. Every character is thoroughly developed and supremely characterized by their respective actor or actress. The story is incredibly economic with its use of sexual innuendos masking it with clever metaphors and juxtapositions; for example, the opening title begins with the word “Trouble in” and a bed appears right next to the word a few seconds before “Paradise” does. Later in the film, as Gaston is romantically kissing “Brunette”, their shadows are cast upon a bed, clearly suggesting the obvious. This clever use of masking sexuality is lighthearted and adds to the overall comedy of the film. Lubitsch is able to do this effortlessly even though the film was made before the Production Code. Lubitsch’s Trouble in Paradise is one of the most important films of the studio era, ingeniously clever and outstandingly funny from start to finish.