Really Surprised!

Intense, gripping, stylish and poignant

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

The acting is good, and the firecracker script has some excellent ideas.

Darn! Sad to see that as of November 2016 this title is still not out on DVD. It's a shame because I really enjoyed this film.It stars Cary Grant...my personal favorite actor (along with Spencer Tracy), although he gets second billing to Grace Moore.I was not familiar with Grace Moore, and to be honest -- her kind of singing (operatic soprano) is not my thing at all. But I was truly impressed with her singing and her acting. And, it was hoot seeing her sing "Minnie The Moocher" (which at one time was cut from the film, but has since been restored in this fresh, new print as broadcast on TCM).Cary Grant is excellent here, too. It's that kind of "torn" Cary Grant -- sullen at times, magnetic at other times. And if you want to see the best Cary Grant smile on film...wait for the ending.The story is not particularly unusual -- in fact part of the plot reminds me greatly of another film I saw...but can't remember the title for the life of me, now which came first. The operatic singer is in Mexico trying to get into the States to help an old friend with a musical gala...but can't because she is not an American citizen. Meanwhile, Cary Grant can't leave Mexico due to unpaid bills. So why not marry temporarily and solve both problems? Of course, they do actually fall in love, but her success and his failure to understand why that success is important sinks the relationship. Or does it? In addition to Moore and Grant, another major supporting actor is Aline MacMahon, who (as she often did in film) managed to steal a few scenes as Moore's aide de camp. Another wonderful character actor -- Henry Stephenson -- plays the conductor, and while it's always a pleasure seeing him in a film, he doesn't have a lot to do here, although he is important to the story line. Thomas Mitchell is around as (again) a newspaper reporter, although he doesn't have much to do here.It seems to me that Grant and Moore fit together nicely in this film, which helps it rise above a somewhat standard plot line (although the opera angle is a bit different). And, some of the sets for musical numbers were quite impressive.Very nicely done. I'm hoping I can add it to my DVD collection before long.

The premise for 'When You're in Love' had a lot of potential, Grace Moore was a likable singer/actress who achieved some success as a film star but that was short-lived, Cary Grant was one of the cinema all-time greats and Robert Riskin was a brilliant screen-writers.Any film also, and there's plenty of them around, that tries to give opera (a medium that has been a lifelong passion, but sadly its appeal has become generally increasingly more limited over the years) more popularity and make it more accessible is worthy of some credit. Somehow however, despite some very good things, 'When You're in Love' falls short of its potential.Moore herself is sexy and a very likable and charming screen presence. She also sings very well, especially in "Sibonay". Though "Vissi D'Arte" doesn't sound right for her voice (prefer a bigger and richer voice for Tosca) and doesn't feel right within the film either. 'When You're in Love' doesn't see anywhere near the best of Grant, but his customary urbane charm can be seen in bucket loads and he and Moore do share a sweet chemistry. Aline MacMahon comes very close to stealing the film, her good-nature and sass reminding one of Eve Arden.'When You're in Love' is beautifully shot and sumptuously designed. The music is wonderful, whether pre-existing or written especially for the film, and along with Moore the star of the film, with "Sibonay", "Your Song" and "Minnie the Moocher" coming off best. Choreographically, "Minnie the Moocher" is energetic and enormous fun, by far the best musical number in staging and choreography, and Moore certainly does let her hair down. The scene in the cabin is a lovely scene too.On the other hand, Riskin's talent as a screen-writer is not matched at all by his direction, showing that there was a reason as to why this was the first and only time in the director's chair. Stylistically it's fine, but too much of it dramatically and pulse-wise screams of inexperience and too many of the musical numbers are staged indifferently or bizarrely (so much so that the exuberant "Minnie the Moocher" feels overblown in comparison), Schubert's "Serenade" is an insulting mix of both especially. The story seemed like it would work on paper, but too much of it is bland and implausible with the final act and ending taking a turn for the worse in lack of momentum of ridiculousness.There are scenes and decisions that begged for explanation as to why they happened, especially why "Serenade" was staged the way it was, the placement of "Vissi D'Arte" and much of the pivotal romance, but they never came. While the chemistry itself is sweet, 'When You're in Love' is written in such a flat way (no sparkling bubbles here in this script, just a lot of substance-less froth that becomes dull, strange and too sugary) that one is never fully invested in the romance itself.In conclusion, works well as a Grace Moore vehicle and anybody wanting good music will not be disappointed. There are far better examples of Grant and Riskin's talents elsewhere other than here however. 5/10 Bethany Cox

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.

I quite enjoyed this as something to watch in the afternoon with a cup of tea and a biscuit. This makes me sound about 110 but I'm only just over 40 LOL Nice story - I've got Skyplus so I could fast forward over the horrible singing. The Opera Star's side kick was definitely the best part of the film, she was smart and the screen lit up whenever she was in a scene.But in the scene where all the kids come down from the Music School upstairs to listen at the feet of the 'Queen' - was that Shirley Temple or not? It looked like her to me, did they have look alikes in those days? Not something to watch if there's anything good on instead.