“Trouble in Paradise” (1932): A Masterclass in Pre-Code Elegance and High-Stakes Deception

Directed by legendary filmmaker Ernst Lubitsch, Trouble in Paradise (1932) is a quintessential pre-Code romantic comedy starring Herbert Marshall, Kay Francis, and Miriam Hopkins. Set against a lavish European backdrop, the film opens in Venice, where debonair master thief Gaston Monescu (Marshall) meets a charming fellow pickpocket, Lily (Hopkins). Realizing they are kindred spirits in crime and sophistication, the two fall head-over-heels in love and join forces as partners in high-society theft.

Seeking their next big payday, the duo moves to Paris and targets Madame Mariette Colet (Francis), the glamorous, immensely wealthy head of a famous perfume house. Gaston manages to return a diamond-encrusted handbag he previously stole from Mariette, earning her immense gratitude, a hefty cash reward, and a position as her personal secretary. Lily joins the household as his typist, positioning the pair to orchestrate a massive embezzlement scheme from within Madame Colet’s opulent estate.

Complications arise as Gaston spends more time with his employer. Mariette’s effortless charm and undeniable elegance begin to captivate Gaston, leading to a passionate mutual attraction that threatens to derail the heist. With jealous suitors snooping around, Lily suspecting her lover’s shifting loyalties, and a high-stakes robbery hanging in the balance, Gaston finds himself caught in a delicate, witty game of love and deception.

 

Kay Francis, Herbert Marshall, and Miriam Hopkins

Ernst Lubitsch (1892 – 1947) was an influential German-born director, producer, and actor who became one of Hollywood’s most revered filmmakers. Beginning his career in Germany's silent film industry, he moved to Hollywood in the 1920s and developed a celebrated directorial style known as “the Lubitsch Touch”—characterized by visual wit, urbanity, and subtle double entendres. His acclaimed works include Trouble in Paradise (1932), Ninotchka (1939), The Shop Around the Corner (1940), and To Be or Not to Be (1942).

Miriam Hopkins (1902 – 1972) was an American actress who became one of early sound cinema’s leading stars, known for her sharp intelligence, screen intensity, and comic timing. She frequently collaborated with director Ernst Lubitsch, delivering memorable performances in The Smiling Lieutenant (1931), Trouble in Paradise (1932), and Design for Living (1933). She was also nominated for an Academy Award for her title role in Becky Sharp (1935), the first feature-length Technicolor film.

Kay Francis (1905–1968), born Katharine Edwina Gibbs in Oklahoma City, rose to prominence on Broadway before transitioning to Hollywood in the late 1920s, quickly becoming Warner Bros.’ highest-paid actress during the mid-1930s. Renowned for her striking dark hair, sophisticated glamour, and distinct minor lisp (often substituting ‘r’ sounds with ‘w’), she excelled in high-fashion melodramas and romantic comedies, including Trouble in Paradise and One Way Passage (1932). After serving extensively with the USO during World War II, Francis retired from acting in the late 1940s and lived a quiet, private life until her death from breast cancer at age 63.

English actor Herbert Marshall (1890–1966) was born in London and began a promising stage career before serving in World War I, where he suffered a severe leg injury that resulted in a prosthetic limb—a condition he masked so gracefully on screen that few audiences ever noticed. With his velvet-smooth baritone voice, impeccable dignity, and suave charm, Marshall became a major Hollywood leading man in the 1930s and 1940s, starring in masterpieces like Trouble in Paradise, The Letter (1940), and The Razor’s Edge (1946). He remained a sought-after character actor in film, radio, and television until his death from heart failure at age 75.

 

Click HERE to watch the movie on the Internet Archive.

Click HERE to join the online discussion on Monday, September 21, 2026, at 6:30 p.m. Central Time. Once you RSVP, you will receive an invitation and a link to join the discussion on Zoom.

 

Trouble in Paradise trivia

Banned by the Production Code: Because the film portrays crime as romantic and financially rewarding without moral punishment, it was withdrawn from circulation in 1935 after the Hays Code began strict enforcement, remaining unshown for decades.

Director’s Favorite: Director Ernst Lubitsch frequently cited Trouble in Paradise as his personal favorite among all his films, praising its visual fluidity and tone.

On-Set Rivalry: Co-stars Miriam Hopkins and Kay Francis reportedly had a tense relationship off-camera, competing over billing, wardrobe, and screen time throughout production.

Prosthetic Triumph: Despite Herbert Marshall having a wooden leg from his wartime injury, Lubitsch directed him to walk long distances and climb stairs seamlessly, keeping the actor's physical limitation invisible to audiences.

 

Discussion questions

How does Trouble in Paradise embody the unique freedom of pre-Code Hollywood cinema compared to films made just a few years later?

In what ways does Ernst Lubitsch use visual touches—such as doors, shadows, and subtle props—to convey romantic and sexual subtext without explicit dialogue?

Between Lily and Mariette, how do the female leads represent different ideals of femininity, independence, and social class in 1930s cinema?

Does the film present a sympathetic view of Gaston’s criminality, or does it serve as a subtle commentary on wealth inequality during the Great Depression?

 

 

Carole Lombard, Cary Grant, and Kay Francis star in “In Name Only”

In Name Only (1939) stars Carole Lombard and Cary Grant in rare dramatic form in this marital melodrama directed by John Cromwell (Since You Went Away).

Grant is Alec Walker, a man stuck in a loveless marriage with his wife Maida (Kay Francis). Maida married Alec for his money and his social position; she never loved him. One afternoon Alec runs into Julie (Lombard), a commercial artist with a young daughter named Ellen (Peggy Ann Garner). They are instantly attracted to each other, but Maida stands in the way of their happiness.

Lombard, Grant, and Francis mug for this publicity photo for In Name Only.

Although the public loved Lombard and Grant for their comedy performances, both are believable as a couple deeply in love. Will their love survive Maida’s intrigue?

One of the great melodramas of the late-1930s, In Name Only was praised by the critics. Variety said, “In the steering of the story director John Cromwell has made every situation as believable as could be accomplished in order to sustain the dramatic undercurrent, strife and the beleaguered romance which has developed. Cary Grant and Carole Lombard emerge highly impressive.” Frank Nugent of the New York Times called the film “Soap opera par excellence…blessed with a peerless cast.”

Click HERE to watch the movie at the Internet Archive.

Click HERE to join the online discussion on March 17, 2025, Central Time. Once you RSVP, you will receive an invitation and link to join the discussion on Zoom.

In Name Only trivia

• Photoplay magazine named Lombard and Grant as the best movie performers for the month of October 1939.
• Katharine Hepburn was supposed to play the female lead and reunite with Grant, but due to the failure of Bringing Up Baby, Lombard was brought on board to replace her.
• The Hollywood Reporter said that Douglas Fairbanks Jr. was set to play the role of Alec.
• Lombard insisted on casting her friend Kay Francis in the role of Maida after Francis was dropped from Warner Bros.
• The home used as the location for the garden party, is the front portico of the old Selznick Studio in Culver City, where Gone with the Wind (1939) was being filmed at the same time as In Name Only.
• This was Peggy Ann Garner’s first credited role.
• In Name Only premiered in New York at the city’s famed Radio City Music Hall on August 4, 1939 where it was held over for several weeks.

Discussion questions

1. What did you think of the acting of Grant and Lombard? Were they convincing
2. Was Lombard right to insist that Kay Francis play the part of Maida? Was Francis convincing as the gold-digging wife?
3. Was the romantic triangle realistic and/or believable?
4. Charles Coburn did a rare dramatic turn as the father of Alec. What did you think of his performance?
5. Was there anything about this film that surprised you?
6. Did In Name Only remind you of any other films?

Great Films of 1939: "In Name Only" June 11 at Daystar Center

Great films of 1939: In Name Only
Where: The Venue 1550 at the Daystar Center, 1550 S. State Street, Chicago, IL
When: June 11, 2016
Time: 6:45 p.m.
Hosted by Stephen Reginald

In Name Only (1939) stars Carole Lombard and Cary Grant in rare dramatic form in this marital melodrama directed by John Cromwell (Since You Went Away).

Grant is Alec Walker, a man stuck in a loveless marriage with his wife Maida (Kay Francis). Maida married Alec for his money and his social position; she never loved him. One afternoon Alec runs into Julie (Lombard), a commercial artist with a young daughter named Ellen (Peggy Ann Garner). They are instantly attracted to each other, but Maida stands in the way of their happiness.

Carole Lombard, Cary Grant and Kay Francis mug for the camera in this
publicity photo for In Name Only

Although the public loved Lombard and Grant for their comedy performances, both are believable as a couple deeply in love. Will their love survive Maida’s intrigue?

One of the great melodramas of the late-1930s, In Name Only was praised by the critics. Variety said, “In the steering of the story director John Cromwell has made every situation as believable as could be accomplished in order to sustain the dramatic undercurrent, strife and the beleaguered romance which has developed. Cary Grant and Carole Lombard emerge highly impressive.” Frank Nugent of the New York Times called the film “Soap opera par excellence…blessed with a peerless cast.”

In Name Only premiered in New York at the city’s famed Radio City Music Hall on August 4, 1939 where it was held over for several weeks.

Have some Joe and Enjoy the Show!

Before the movie, grab a cup of coffee from Overflow Coffee Bar, located within the Daystar Center. You can bring food and beverages into the auditorium; we even have small tables set up next to some of the seats. General Admission: $5 Students and Senior Citizens: $3.

Join the Chicago Film club; join the discussion

Twice a month we screen classic films and have a brief discussion afterward. For more information, including how to join (it’s free), click here. The Venue 1550 is easily accessible by the CTA. Please visit Transit Chicago for more information on transportation options.

Stephen Reginald is a freelance writer and editor. He has worked at various positions within the publishing industry for over 25 years. Most recently he was executive editor for McGraw-Hill’s The Learning Group Division. A long-time amateur student of film, Reginald hosts “Chicago Film Club,” a monthly movie event held in the South Loop, for the past two years. Reginald has also taught several adult education film classes at Facets Film School, Chicago.

Daystar Center located at 1550 S. State St. works through a grassroots network of collaborations and partnerships with individuals and other nonprofit organizations. Through this web, they’re able to provide educational, cultural, and civic activities that enrich and empower their clients, guests, and community members. To learn more about classes and events offered at the Daystar Center, please visit their Web site.