The Smiling Lieutenant

This film is sheer perfection - the Lubitsch Touch is here in spades. This must be one of the most charming films ever made, and it is technically brilliant too for the early talkie era. A fabulous show-case for the talents of three new Paramount stars - Maurice Chevalier has never been better, Claudette Colbert is buoyant - and Miriam Hopkins is an absolute marvel as the innocent princess. When will she be given the adulation she deserves - certainly one of the best actresses of her generation. And George Barbier is also brilliant as her father.

This film could only have been made in the pre-code days - it is very very naughty. The mating pillows is only one example of many sexual innuendos and symbols. But it is all too charming to be offensive to even the most prudish person. One of the best films of the early Thirties.

Maurice Chevalier is way too hammy in this pleasant comedy. Claudette Colbert shines as the bad girl with a violin. Colbert displays her usual breezy charm AND a nice singing voice. But it's Miriam Hopkins who steals the film as the dowdy princess turned jazz baby. Colbert and Hopkins sing a delightful "Jazz Up Your Lingerie" number which Hopkins reprises on the piano, replete with frizzed hair and cigarette dangling from her lips as she pounds out a snazzy-jazzy version of the song. Hilarious! Hopkins rarely got to show her comic side. She was also funny in Wise Girl. Smiling Lieutenant also has Charlie Ruggles, Elizabeth Patterson, and the delightful George Barbier as Hopkins' papa. Good fun. Watch it for Hopkins and Colbert!!!

It must have been that the movie-going public loved seeing Maurice Chevalier in those tight uniforms, he seemed to be in them in most of those early talkies he made for American studios. Only now and again would Chevalier play something as prosaic as a tailor.

He's a guardsman again in The Smiling Lieutenant. But with the Austrian Empire at peace all the men have a lot of idle time on their hands. Maurice is busy planning his latest campaign when a friend played by Charlie Ruggles asks him with that Chevalier charm to intercede for him with a female violinist in Claudette Colbert.

Maurice does, but the sly rogue gets her for himself. And then he's put on duty to greet the visiting royal house of Flausenthurm which includes King George Barbier and Princess Miriam Hopkins.

In one of those priceless Ernst Lubitsch moments, Chevalier while at attention spots Colbert across the street and throws a few knowing smiles and winks. But when the coach carrying Barbier and Hopkins passes, Hopkins intercepts one of those winks and considers it an uncalled for act upon a royal personage.

In fact she likes what she sees and persuades Daddy to get the Emperor who's her uncle to part with Chevalier. Of course Maurice the old campaigner likes the idea of being married to the dowdy Hopkins if he's got Claudette on the side.

I won't go any farther, but as you can see just by what I tell you The Smiling Lieutenant is a film made before the Code was put in place. In fact the naughtiness of films like these is what got Hollywood the Code. But it's what also makes it hold up very well for today's audience.

No big song hits come from The Smiling Lieutenant, but Chevalier delivers what's there with his Gallic charm. Even Hopkins and Colbert grab a chorus or two with Maurice. Music is by Oscar Straus with English lyrics by Clifford Grey.

This is before the Code so you have some freedom as to how this film will end, the parameters the Code put in place are no longer there. I should say however that Miriam Hopkins gets a makeover that Paul Venoit and his team would envy.

There is more real sexuality between male and female in five minutes of a Lubitsch musical than in two and a half hours of any average film you're likely to see today. Needless to say, there is no nudity. It's all done with innuendo and the extraordinary degree of energy and physical magnetism that Lubitsch manages to elicit from all his actors. For once in a film, you actually feel that these extremely attractive young people can hardly wait to go to bed with each other, and when they do (off-screen of course) the result is … transformative. When they burst out in song, as they do on the slightest provocation in a Lubitsch musical, it is because they are full of emotions they can no longer contain. There's nothing dirty or smutty whatsoever in the Lubitsch Touch, as there is sometimes in the work of his disciple Billy Wilder. Lubitsch's characters explode with life, the joy of being young and in love. There are many great film directors, but not one has ever been able to create the kind of sexual energy that Lubitsch puts into all his films. Silly as the plots may be, mediocre as most of the songs are, his films bristle with the romance and humor of life.

Ernst Lubitsch came to Hollywood in the years before the "Code", or censure, if you will, that plagued all artists working during that era. This is a clear example of what could be done in the movies when the scissors of the censor were not in the picture, no pun intended.

If you haven't seen the film, please stop reading now.

This film is based in an operetta. It's light, it's frothy, it's naughty, and it's a delight to watch it more than sixty years after it was made. Mr. Lubitsch was a genius in creating films that bore his signature like no other director of the time. His European background is constantly in display. He had a sensitivity for giving the viewer a glimpse of that old world he had left behind when he emigrated to America.

Mr. Lubitsch worked with the best actors of the times. His choice of Maurice Chevalier, or maybe it wasn't his decision, but the studio's, pays handsomely in this movie. Mr. Chevalier brought his own style to the American cinema and he can be a bit strange in the way he reacts in front of a camera, but in spite of his school of acting, he went to become a favorite in this country too.

Mr. Chevalier plays the bon vivant lieutenant in the Austrian army who has a roving eye for any beautiful woman that crosses his path. He finds that, and much more with Franzi, the violinist in charge of an all women's orchestra. It's clear what attracted Niki to Franzi; she is a beauty who aims to please. There is no subterfuge in the relationship; Franzi moves right in into Niki's apartment. This couldn't have been done in the movies later on, when the Hays code came into being.

Claudette Colbert had a lot of charisma. In "The Smiling Lieutenant" she shows why she was a star in her own right. Ms. Colbert and Mr. Chevalier made these lovers look right. Nothing is done in the open and everything is done with great taste, although the viewer can guess what's really happening without too much guessing.

To complicate matters, our lieutenant is fancied by a dowdy Princess Anna on a visit to Vienna. Since honor is at stake, Niki marries her, but his heart is left behind with Franzi. Niki doesn't want any part of this woman who has been imposed on him.

When Franzi and the orchestra make an appearance in the neighboring country, Niki discovers her and they go back to their trysts whenever they find the time, to the chagrin of the princess. Franzi realizing she could never get Niki without causing a great scandal, gives in, and in the process, transforms the "ugly duckling princess" into a lovely swan. Miriam Hopkins playing Anna ends up with the man she wanted. The final scenes suggest that yes, they will have their fun after all.

The set decorations of the film are breathtaking. The palace scenes, the costumes, take the viewer to the Austro-Hungarian empire. This film will please anyone looking for an easy time at the movies thanks to Ernst Lubitsch.