When You're in Love (1937)

Robert Riskin, who wrote the script for this movie, also wrote the scripts for Platinum Blonde (1931), It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), You Can't Take It with You (1938), Meet John Doe (1941), and many other of the great movie classics of the 1930s. If I start by listing those masterpieces, it is to wonder how he could have written something as poor as this script. Because it is the script, and Riskin's sole turn at being a movie director, that sink this movie. The first part is very poor, the middle not as bad, but then the end, with the god-awful music festival done in neo-Grecian art deco, destroys any chance of actually respecting this movie. HOW could anyone have thought that the last number, a piece that talks about a "simple song" but is staged with a cast of hundreds in elaborate 18th century ball gowns and what not, would not look ridiculous? It's a shame that the script and direction are so often so poor, because there are good things in this movie.Moore's singing of Sibonay early in the movie is magical. It's a great number, brought off wonderfully by Moore at her very best. The staging isn't great, but it doesn't sink what is really a great five minutes.There is also a very effective 5 minutes dramatically when Cary Grant and Moore sit before a fire in his cabin. The scene comes off as very natural, and very convincing - one of the few such natural moments in the movie, unfortunately.Several of the other musical numbers, done very simply, are very moving. The song Moore sings to the children about the wooden doll, her song out in nature (which then gets travestied as the finale at the music festival), her singing of a folk-song while lying on her back in the cabin. And while she was no Cab Calloway, she does a nice job with Minnie the Moocher.But Riskin's direction kills a good performance of Shubert's Serenade, done, for no apparent reason, in neo-Grecian art-deco. And Moore's performance of Vissi d'arte from Tosca under the opening credits is never explained and leads nowhere.The dramatic crux of the movie happens only because Moore's character fails to explain to Cary Grant's why she has to sing at the music festival. It makes no sense that she would not have explained this.So, in summary: there are some golden nuggets in this movie, mostly the musical numbers - but not all of them. Most of the rest of it is poor.Very definitely inferior to Moore's other movie from 1937, I'll Take Romance, which suggests that Moore could have made some good movies if she had had better directors and material.

As a Cary Grant fan I wanted to learn more about his track record leading up to 'North by Northwest' which is why I watched this film. Don't waste your time. It is not a movie, it is a poorly made excuse to add to Grant's credit list. It fails to provide any interesting characters or engaging storyline. The script is poorly written and it is poorly directed. No wonder it hasn't stood the test of time. Grant is not convincing as a tough guy pushing people around. Nobody would put up with him today. It has shades of him acting tough in 'Mr. Lucky', but nowhere near the quality of 'The Last Outpost' or 'My Favourite Wife'. It's fair to say that most of Grant's 1930s films weren't very good.

The sole directorial effort from Robert Riskin (the talented screenwriter behind many of Frank Carpa's best films), WHEN YOU'RE IN LOVE is one of many films that attempted to re-create the success of 1934's surprise hit ONE NIGHT OF LOVE. This film boasts the advantage of featuring opera singer Grace Moore, the star of the previous film, in the lead role, yet it never really seems to amount to much and was not well-received by audiences upon it's original release. The film's basic premise (famous Australian opera singer "hires" an American man to pose as her husband in order to enter the country) is a workable enough set-up, but the picture fails to generate much momentum or interest. Riskin does a respectable job for a first time director, but displays a poor sense of pace and allows the picture to become plodding.Moore is acceptable as the film's Diva (she never really commands the screen, but she has a odd sort of like-ability) and Cary Grant is in fine form as her "rented" mate, but they are playing stock characters who only seem to behave in the manner that is necessitated by the script. Their relationship suffers numerous ups and downs throughout the course of the film, but I never really cared whether they ended up together and that is a serious determent for this type of picture. The film is also marred by far too many piecing musical numbers that seem to exist only to pad out the film's runtime and serve as a defacto showcase for Moore's shrill voice (even "Minnie the Moocher," which is often referred to as the film's highpoint, is virtually unlistenable). The film's true saving grace is Aline MacMahon in a fresh and intelligent performance as Moore's assistant - MacMahon's good-natured portrayal is a minor comic gem surrounded by a sea of mediocrity.

Another light hearted romp from the 30's. Who doesn't like Cary Grant? This is an early glimpse into the comedic side of the Cary Grant we loved in so many films he made afterward. Miss Moore lights up the screen with her singing. Grace Moore was an opera star from the Met that found her way into film. She was nominated for Best Actress for her 1934 film "One Night of Love". Here an Australian opera singer needs to get to America but cannot get over the border and agrees to a plan. This movie has quite a bit of charm. I love the scenes of Mexico. One song in particular is a bit overdone but, all in all this is a nice romantic film. It may not be Shakespeare but it's a lot of fun.