One Hour with You

A really delightful musical comedy, dripping with pre-Code innuendo. The plot is at first predictable and a little annoying, as it revolves around some "Three's Company"-esque misunderstandings, but eventually takes some unexpected (and rather naughty) twists. MacDonald is far more impressive here than in Monte Carlo, in no small part due to playing off Chevalier, who explodes with irresistable charm. The film is witty and fun, especially when it comes to Chevalier's addresses to the camera.

Finally I get the attraction of Chevalier. It's a charming performance in a fun little film full of innuendo. Jeanette MacDonald still seems out of place in these roles, though.

I adore these Ernst Lubitsch/Maurice Chevalier collaborations. While I'm not a musical fan, Lubitsch makes it work with the sophisticated naughty touch and all out charm. And none can be as charming as Maurice Chevalier. He was fantastic in The Smiling Lieutenant (1931) the year before, and here he is again full of charisma and all irresistible. Jeanette MacDonald looked great and with Charles Ruggles and Roland Young on support we have ourselves a very enjoyable movie with lots of fun elements.

okay, so it was sort of entertaining and amusing, but come *on*. sometimes i want to beat hollywood with a metaphorical sledgehammer. or even a real one. and as for the 'sophisticated' sexual innuendo, i can only imagine a promenade of giant, hairy, shriveled-up cocks waltzing into the dancing room, and this facade of classiness shatters into a million scatological pieces.

Jeanette MacDonald is very sexy here--sexy as only Lubitsch and Chevalier could make her. The screenplay is sophisticated and adult--the kind it would be impossible to film just a year later.

Wink-wink, nudge-nudge, know what I mean, know what I mean, say no more, say no more.

A dryly cynical venture for Lubitsch, which I think causes some of his charm to be lost (and he was going through a divorce at the time, which definitely rubs off, making his chauvinistic tendencies and flighty morality a hindrance rather than the usual boon). That said, it is enjoyably self-referential in how the story manipulates the audience and through Chevalier's addresses to the camera. Oh, "Monsieur, I so wanted to see you in tights!"

The grand finale of a series of films with which Lubitsch practically invented the narrative musical and screwball comedy. By this film the songs and choreography have been polished. Chevalier is as charming as ever and, thankfully, MacDonald's high pitch is reigned in.

I still hate musicals.

My only real complaint about this is that maybe it's a little short. Also the dialogue is less relentlessly wonderful than Design For Living (but then again the same is true for almost all movies). But other than that it's basically a perfect movie. Incredibly cynical and truthful commentary about relationships + clever little musical numbers = come on how is this not amazing?

86.50

Viewed June 15, 2020.

Enticing mood and enough Lubitsch to go around. The musical parts were unnecessary but didn't take too much away from the comedic elements that worked. Pretty pre-code, but left craving for more.

Chevalier is always so flirty in his movies, but he meets his match here, which makes it even funnier. It's a little dated -- gasp, a man's tie is undone -- but you can still see the underlying seductiveness of the piece. The speaking-of-songs is a little strange; overall, though, it's a fun little diversion. (Favorite moment: Adolph, confused, about to dance with Andre. Next favorite is Andre's face while singing "Oh, that Mitzi.")