Arise, My Love

Mitchell Leisen gets superb performances from CLAUDETTE COLBERT and RAY MILLAND in ARISE, MY LOVE.

It's a comedy/drama with Claudette as a journalist tired of covering fluffy stories who decides to get into serious journalism by rescuing a man about to be executed during the Spanish Civil War (Milland) so that she can be the first writer to get a scoop on a great story. As soon as she and her prisoner meet, the deft comic timing of these two pros are given great support from Billy Wilder's clever script. Early on, there's a scene of mistaken intentions that has Ray thinking Claudette wants to seduce him. He's oblivious to the fact that she merely wants to take some photos of him for the article she intends to write. The double entendre dialog has seldom been matched, in this scene alone.

Personally, I prefer "Midnight," another Leisen/Colbert film shown before this one on TCM. It's even wittier and much funnier. The trouble with ARISE, MY LOVE is that it attempts to do too many things at once and emerges as an uneven romantic comedy with a war background. For the ending, Claudette gets to deliver a flag waving speech that is obviously meant for 1940 audiences who were facing the prospect of getting involved in WWII.

Lots of laughs along the way with both stars delivering excellent performances.

I am so mad at myself because I watched this in the 80's and 90's on American Movie Classics and like an idiot I didn't record it. Now I haven't seen it on any channel in years and it isn't available on VHS or DVD.

This is just such a breath of fresh air for a 1940 movie. It's a movie where the woman is as smart as the man and is allowed to show it and in the end stands tall with him instead of behind him. The dialogue is funny, which given the exceptional writers like Billy Wilder, is not surprising. Colbert and Milland have wonderful chemistry. It's a movie I adore from start to finish. Now if only Paramount would get off their arses and release this movie on DVD, I'd be thrilled.

Claudette Colbert stated that Ernst Lubitsch was "by far" her favorite director, but this film, directed by Mitchell Leisen, she stated to be her favorite movie. Released in 1940, it marked her fourth collaboration with Leisen (he'd co-directed without credit sequences of the 1932 Cecil B. DeMille production "Sign of the Cross," the movie which made Claudette a star), the man who directed her in more films than any other director.

One can see why Claudette liked this film the best: it gave her a meatier role than the parts she'd played over the preceding several years. Ever since 1934's "It Happened One Night" Claudette had mostly done comedy films. This isn't a complaint – the lady had better comedic timing than just about any other actress in Hollywood. But here in Arise My Love she was able to cover the gamut of her talent, from comedy to drama, something she hadn't gotten to do since the Pre-Code years (check out her 1933 "Torch Singer" for an example). Indeed it's this mixture of genres which seems to offset the critics of today. For Arise My Love answers the unasked question: "What if Casablanca had been done as a screwball comedy?"

Produced so in-the-moment that the script was rewritten daily to encompass the latest events, Arise My Love was released in 1940 and covers the hectic events of one year, starting in the summer of 1939. Claudette is Gusto Nash, a no-nonsense newspaper reporter who dreams of scoring big headlines. She frees Tom Martin (Ray Milland), a Nazi-hating pilot who's imprisoned on death row in Spain, part of the Liberty battalion of US soldiers who helped that country fight the encroaching Nazis (and lost). The first thirty minutes of this movie are 100% action, with escape via land and air. After this the film moves into screwball territory, with Tom hot for Gusto and Gusto trying to reign in her feelings; she wants to focus on her career. After this we move into drama; together at last, Gusto and Tom are soon separated, Gusto to cover the Nazi menace in various points of Europe, Tom battling the Germans in the Polish air force.

Everything hangs together despite the mixing of genres. If I had any complaints it would be that the film ends a bit too weakly, Claudette delivering a passionate soliloquy to a silent Milland. Doubtless this gung-ho speech was intended to stir patriotic fervor in the audience of the day, but now, decades after WWII, it seems a bit anticlimactic. Indeed, the opening thirty minutes of the film are more climatic than the ending. But there are a lot of enjoyable moments. Claudette and Milland have good chemistry and both get a chance to display comedic and dramatic skills.

The Sturges/Brackett script is up to the level of their previous Claudette productions ("Bluebeard's Eighth Wife" and "Midnight"), though, again, they don't get as much chance here to unleash their trademark comedy. Leisen's direction is good, too, as is the cinematography and production values. Claudette and Milland traipse about Europe in a variety of locales, from Paris to countryside inns deep in France; all of it done on a set, all of it featuring that Classic Film glamor.

Released well after the enforcement of the puritanical Code, Arise My Love still gets in a few surprises – first, there's a delightful scene where Gusto comes up to Tom's room to snap his photo for her article. Tom however thinks she's coming up for sex. This develops into a scene filled with hilarious misunderstanding, with Gusto arranging the setup and Tom becoming increasingly bewildered: "So where shall we do it? How about the chair?" "What?" "Right – too conventional." All of it like "Three's Company," but still very funny. Also, shortly after this scene Gusto and Tom talk in a restaurant; Tom's pretending he's waiting for a (nonexistent) Swedish girl, but really he just wants to be with Gusto (who thinks she's just getting material for her article). There's a moment where Tom asks Gusto to pick out some flowers – flowers he pretends to be buying for the Swedish girl but are really for her. As Tom purchases the flowers she picked out, Gusto looks at him with a dawning understanding that turns into a look of longing – and then, very abruptly, she puts her pen in her mouth. Dr. Freud calling!

Despite Claudette's preference for this film, it's never been officially released – not even on VHS. You'll need to scour the sordid world of online DVDR trading/sales to find yourself a copy, one which most likely will have been sourced from a cable TV broadcast.

Definitely in my all time top 10. The Milland/Colbert pairing is fantastic, there is wonderful chemistry between the two stars but it is Colbert who as the independent career woman Augusta Nash launched me on my love of 1930's/1940's films and I would recommend this as a fabulous example of what films of that era have to offer a modern audience.

The opening sequences set the adventurous and romantic tone of the movie. The scenes in Maxim's and the in the horse drawn carriage on Monmartre are wonderfully romantic as Tom (Milland) plots to overcome Augusta's business only attitude. A fabulous film which gets home the patriotic message needed as WWII commenced without ever overwhelming the wonderful adventurous story.

Mitchell Leisen was one of the few directors who could introduce tragedy into comedy and vice versa .The first part is absolutely dazzling.Incredible though it may seem ,it's full of unexpected twists,of fine lines ("it's my first execution" says the Padre /It's mine too" says the prisoner).The chemistry between Claudette Colbert and Ray Milland is perfect and their husband-and-wife act compares favorably with that of the actress as a "baroness ,her husband and her children" in "midnight" .The movie loses steam in its second part but it does show Mitchell's fondness for France .Unlike too many American movies,there are plenty of French words and the French speak French between them.I particularly like this sentence "Three sisters used to live in this country :Liberté ,Egalité Et Fraternité " as the German army is marching past the streets of Paris.This francophilia is also present in Leisen's "hold back the dawn" or "Frenchman's creek" .

The last third may be considered a propaganda one ,but many other directors (Hitchcock,Lang,Hathaway,Borzage etc) had theirs too,and Leisen's is certainly smarter than most of the others.Solomon's prayer (which provides the title) is to be taken literally.Augusta is a go-getter ,she plays the heroine just for the sake of fame .After the beautiful scene in the forest ,where the animals run for their lives ,she does arise .The scene in the Compiègne Car is as incredible as Marlene Dietrich as a gypsy entering an inn full of Nazis in "golden earrings" .But the Spanish extravagant tale had warned us:this is not to be taken seriously ,but in a way,it is.