Online versions of the Goldenrod Handouts have color images August 30, 2016 (XXXIII:1) http://csac.buffalo.edu/goldenrodhandouts.html Ernst Lubitsch, TROUBLE IN PARADISE (1932, 83 min) Trouble in Paradise (1932), 83 minutes Directed by Ernst Lubitsch Writing Credits Samson Raphaelson (screenplay), Grover Jones, (adaptation), Aladar Laszlo (play as Laszlo Aladar) Produced Ernst Lubitsch Music W. Franke Harling Cinematography Victor Milner Art Direction Hans Dreier Costume Design Travis Banton…(gowns) Costume and Wardrobe Department Eugene Joseff…costume jeweler (uncredited) Cast Miriam Hopkins…Lily Kay Francis…Madame Mariette Colet Herbert Marshall…Gaston Monescu Charles Ruggles…The Major historical drama. His success in Europe brought him to the shores Edward Everett Horton…François Filiba of America to promote The Loves of Pharaoh (1922) and he C. Aubrey Smith…Adolph J. Giron become acquainted with the thriving US film industry. He soon Robert Greig…Jacques, Mariette's Butler returned to Europe, but came back to the US for good to direct new friend and influential star Mary Pickford in his first Ernst Lubitsch (b. January 29, 1892 in Berlin, Germany—d. American hit, Rosita (1923). The Marriage Circle (1924) began November 30, 1947, age 55, in Hollywood, California) who Lubitsch's unprecedented run of sophisticated films that mirrored Entertainment Weekly voted the 16th Greatest Director of all the American scene (though always relocated to foreign or time, decided at age 16 to leave school and pursue a career on imaginary lands) and all its skewed panorama of the human the stage. He had to compromise with his father and keep the condition. There was a mix of pioneering musical films and some account books for the family tailor business while he acted in drama also through the 1930s. The of those films resulted in cabarets and music halls at night. In 1911 he joined the Paramount making him its production chief in 1935, so he could Deutsches Theater of famous director/producer/impresario Max produce his own films and supervise production of others. In Reinhardt, and was able to move up to leading acting roles in a 1938 he signed a three-year contract with Twentieth Century- short time. He took an extra job as a handyman while learning Fox. He moved to MGM, where he directed Greta Garbo and silent film acting at Berlin's Bioscope film studios. The next year Melvyn Douglas in Ninotchka (1939), a fast-paced comedy of he launched his own film career by appearing in a series of "decadent" Westerners meeting Soviet "comrades" who were comedies showcasing traditional ethnic Jewish slice-of-life fare. seeking more of life than the mother country could—or would— Finding great success in these character roles, Lubitsch turned to offer. During the war he directed perhaps his most beloved broader comedy, then beginning in 1914 started writing and comedy--controversial to say the least, dark in a tongue-in-cheek directing his own films. His breakthrough film came in 1918 sort of way--but certainly a razor-sharp tour de force in smart, with The Eyes of the Mummy, a tragedy starring future precise dialog, staging and story: To Be or Not to Be (1942). Hollywood star Pola Negri. Also that year he made (1918), again Lubitsch had a massive heart attack in 1943 after having signed a with Negri, a film that was commercially successful on the producer/director's contract with 20th Century-Fox earlier that international level. His work already showed his genius for year, but completed Heaven Can Wait (1943). His continued catching the eye as well as the ear in not only comedy but efforts in film were severely stymied but he worked as he could. Lubitsch—TROUBLER IN PARADISE—2 In late 1944 Otto Preminger, another disciple of Reinhardt's displayed a talent that had all the earmarks of stardom. She was Viennese theater work, took over the direction of A Royal to finish out the year by playing Ivy Pearson in Dr. Jekyll and Scandal (1945), with Lubitsch credited as nominal producer. Mr. Hyde (1931). In Two Kinds of Women (1932) directed by March of 1947, the year of his passing, brought a special William C. de Mille, Miriam once again performed Academy Award (he was nominated three times) to the fading magnificently. Later that year she played Lily Vautier in the producer/director for his "25-year contribution to motion sophisticated comedy Trouble in Paradise (1932). A film that pictures." At his funeral, two of his fellow directorial émigrés should have been nominated for an Academy Award, it has from Germany put his epitaph succinctly as they left. Billy lasted through the years as a masterpiece in comedy - even today, Wilder (who considered Lubitsch his favorite director) noted, film buffs and historians rave about it. Miriam's brilliant "No more Lubitsch." William Wyler answered, "Worse than performance in Design for Living (1933) propelled her to the top that—no more Lubitsch films." Some of his additional 76 of Paramount's salary scale. Later that year, Miriam played the directed films include That Lady in Ermine (1948), Cluny Brown title role in The Story of Temple Drake (1933). Paramount was (1946), That Uncertain Feeling (1941), The Shop Around the forced to tone down the film's violence and character being raped Corner (1940), Bluebeard's Eighth Wife (1938), The Merry to pass they Hayes Office code. Despite being watered down, it Widow (1934), Design for Living (1933), Trouble in Paradise was still a box-office smash. Soon, the country was abuzz as to (1932), Broken Lullaby who would play Scarlett (1932), The Smiling O'Hara in Margaret Lieutenant (1931), The Mitchell's Gone with the Patriot (1928), The Student Wind (1939). Miriam Prince in Old Heidelberg wanted the coveted spot (1927), Lady Windermere's especially since she was a Fan (1925), Der gemischte Southern lady and Georgia Frauenchor (1916) and native. She is actually Fräulein Seifenschaum portrayed by Sheilah Wells (1914). He also has 43 in The Scarlett O'Hara War acting credits, as well as 29 (1980), a film that looks at writer credits. His written the cut-throat casting for work includes To Be or Not the film. By the late ‘30s, to Be (1943, story - film roles slowed down and uncredited), Here Is Miriam found herself Germany (1945, returning to the stage. She documentary, story made two films in 1940, preparation), To Be or Not to none in 1941, and one in Be (1942, original story - 1942 and 1943, uncredited), The Merry respectively. The stage was Widow (1934, contributing writer - uncredited), If I Had a her work now. However in 1949, she received the role of Lavinia Million (1932), The Smiling Lieutenant (1931, uncredited), Penniman in The Heiress (1949). Miriam made only three films Romeo und Julia im Schnee (1920, screenplay & story), I Don't in the 1950's, but she had begun making appearances on Want to Be a Man (1918, writer), When Four Do the Same television programs. Miriam made her final big screen (1917, Short), Zucker und Zimmt (1915) and Fräulein appearance in Savage Intruder (1970). In July, 1972, despite Seifenschaum (1914). concerns about her health and a premonition that she shouldn't travel, she flew to New York to attend the special screening of Miriam Hopkins (b. Ellen Miriam Hopkins October 18, 1902 in Story of Temple Drake celebrating the 60th anniversary of Savannah, Georgia—d. October 9, 1972, age 69, in New York Paramount Pictures, followed by a gala party in her honor at the City, New York) came from a wealthy family and initially Museum of Modern Art. Just as she had feared, she suffered a studied ance in New York , she received her first taste of show major heart attack and died in her hotel suite before getting back business as a chorus girl at twenty. She appeared in local to her California home. She acted in 52 film and television roles, musicals before she began expanding her horizons by trying out some of which are Savage Intruder (1970), The Flying Nun dramatic roles four years later. By 1928, Miriam was appearing (1969, TV Series), The Chase (1966), Russ Meyer's Fanny Hill in stock companies on the East Coast and her reviews were (1964), The Outer Limits (1964, TV Series), Route 66 (1963, TV getting better after having been vilified earlier in her career. In Series), General Electric Theater (1954-1962, TV Series), The 1930, Miriam decided to try the silver screen and signed with Children's Hour (1961), The Investigators (1961, TV Series), Paramount Studios. Since she was already established on Play of the Week (1961, TV Series), Climax! (1957, TV Series), Broadway, Paramount felt they were getting a seasoned Studio One in Hollywood (1955, V Series), The Ray Milland performer after the rave reviews she had received on Broadway. Show (1955, TV Series), Lux Video Theatre (1951-1955, TV Her first role was in Fast and Loose (1930). The role, where Series), The Whistler (1954, TV Series), The Philip Morris Miriam played a rebellious girl, was a good start. After appearing Playhouse (1953, TV Series), Curtain Call (1952, TV Series) , in 24 Hours (1931), where she is killed by her husband, Miriam Carrie (1952), The Outcasts of Poker Flat (1952), Pulitzer Prize played Princess Anna in The Smiling Lieutenant (1931) opposite Playhouse (1951, TV Series), The Mating Season (1951), The Maurice Chevalier. Still considered a newcomer, Miriam Chevrolet Tele-Theatre (1949, TV Series), Hart to Heart (1949), Lubitsch—TROUBLER IN PARADISE—3 The Heiress (1943), Old Acquaintance (1943), A Gentleman return to stage work, acting in summer stock before retiring After Dark (1942), Lady with Red Hair (1940), Virginia City permanently in 1952.