The Gilded Lily

Just what I wanted from a film-- to feel good, smile, and applaud at the end. Colbert was fantastic.

However down you might be feeling, this will cheer you up. Its warm and uplifting mood will give you a big hug and put a big smile on your face. It's sentimental without being soppy making this a perfect little rom-com.

This might not be a classic but Claudette Colbert is as classic as ever. Besides being the most beautiful woman ever (as we, the enlightened ones realise!), she had that natural ability to make even the silliest role seem completely believable and real. In this, following a romance with one of those hundreds of sons of English Lords in disguise who, according to Hollywood seemed to populate America in the thirties, celebrity is foisted unexpectedly upon her. She copes with this just like any of us would - with incredulity followed by self effacement then reluctant acceptance. Her performance is so natural and so endearing.

Also, I must commend Fred MacMurray! You'd never guess that this was his first lead role - he and the divine Claudette show real chemistry. He was just one of those naturally natural actors.

The story is far from original, the humour's ok though not side-splitting but the intoxicating charm of the three leads makes this something special. The romance is cheesy and corny but it never ventures into the nauseatingly sentimental which a lot of films did back then. No, this has a healthy streak of cynicism flowing through it which adds to its realism.

THE GILDED LILY packs a lot of good-natured fun into a standard Paramount assembly line product. Claudette Colbert, perhaps never more perfectly photographed and framed, plays an office worker torn between two handsome young suitors: a brash newspaper reporter (Fred MacMurray) and a cultivated Englishman (Ray Milland, who, unbeknownst to Colbert, is actually a duke traveling in the States under an assumed name to avoid the press). The plot picks up when Colbert discovers Milland's true identity (via MacMurray who by chance is assigned to do a story on him), whereupon emotions take over, spin out of control and create a whole new world of developments, including Colbert's overnight rise to celebrity-by- association, which relocates her from workaday surroundings to nightclub dressing rooms and luxury hotels, from simple lace collars to glittery evening gowns. There is no logical explanation for how she could become so closely involved with Milland, yet know nothing about him other than the fact that he is English and has no job. But we must suspend disbelief so that the plot can develop.

The first half is the best, beginning charmingly as Colbert and MacMurray's friendly- flirtatious relationship is established on a bench outside the main branch of the New York Public Library where they meet each Thursday to eat popcorn, chat and watch the world go by. Their dialogue provides all the exposition we will need: he is in love with her, plain and simple; she isn't in love with him, because her vision of love is based on an ideal fantasy which no reality has ever matched. From this introduction we are taken on a lively ride as she is soon swept off her feet by Milland in the surging chaos of a packed subway station. Following is a series of beautifully written scenes, expertly played by Colbert, charting the giddiness of falling madly in love through the descent into despair when that love suddenly appears to be a cruel illusion. The peak occurs when Colbert exquisitely botches a nightclub song-and-dance act intended to launch her as a marketable celebrity.

Thereafter the story sags and gets mechanical, contracting into the old "which suitor shall I choose" routine, but momentum resumes toward the end. Even at its lowest points, however, just the beauty of the three main faces in close up is enough to hold interest. It is impossible to judge which of Colbert's many light comedy performances is the finest, but this one would have to be in the top five. MacMurray and Milland are perfectly cast as the opposite love interests. They resemble each other in build, height and hair color, so that even accounting for Milland's accent and slightly more reserved demeanor we can see why it's so difficult for Colbert to choose between them. The resemblance is most pronounced when the men appear together in formal attire.

Get that cast... Claudette Colbert, Fred MacMurray, Aubrey Smith, Ray Milland, Don Meeks. all so good. Marilyn (Colbert) and Pete (Mac) are buddies, working in new york city. When Marilyn bumps into Charles Gray (Milland), she gets all flustered, and they spend the next couple days running around the city together. but Gray must return to england to break it off with his fiancee. Marilyn sees the photos of Lord Gray in the paper, and thinks he has lied to her... he had, but only to break it off with the one back home. another little problem that snowballs into something much bigger, since someone couldn't tell the truth to begin with. Marilyn hits it big as a singer, and now things really turn around for her. can they pick up where they left off? Aubrey Smith was always the uncle, the congressman, the wise judge. here, he's Gray's father, and wants to avoid any whiff of scandal to protect the family name. Colbert and Milland had been around hollywood a bit, but this was one of MacMurray's first credited roles. it's fun to watch it all happen. liberal use of backdrops. clearly there was a magic between Colbert and Mac. directed by Wes Ruggles.was nominated for Cimarron. he had started in EARLY silents as an actor, and carried on with directing, into the talkies. had worked with the Chaplins. his brother Charles Ruggles was hilarious in so many comedies. Watch this one. shame they don't show it very often.

Claudette Colbert is Marilyn, "The Gilded Lily" in this 1935 film also starring Ray Milland and Fred MacMurray. Colbert plays a young woman who hangs out with a reporter friend, Peter, (MacMurray) as she waits to be swept off her feet. Enter Milland as Charles, a duke visiting the U.S. incognito. They fall in love, and he decides that he wants to marry her instead of his fiancée back in England. His father (C. Aubrey Smith) talks him into breaking up with the fiancé the honorable way: return to England, see her face to face, and then return to the states. Peter, who has no idea that Charles is Marilyn's dream man, gets wind of the royalty and blows their identity in the paper. Marilyn thinks Charles lied to her about his feelings and is simply returning to England to get married. When Peter realizes Marilyn fell for Charles, his paper does a scandal sheet-type job on Marilyn. Before she knows it, she's the '30s version of a Tiger Woods' girlfriend and launched into a singing career.

It's all very odd -- MacMurray acts like a total jerk, and Charles apparently assumes she's been sleeping with Peter and invites her for a weekend at an inn when she's in England doing her act. She really should have dumped both of them, but she chooses one instead.

Colbert is very beautiful, and this was a breakthrough role for MacMurray. Milland is very charming - he came up through the ranks slowly and can be seen uncredited in "The Man who Played God" in 1931.

Dated but pleasant, basically thanks to Colbert.