source: Arise, My Love

An unusually constructed film which starts off like a screwball comedy albeit to the backdrop of both the recently-ended Spanish Civil War and newly-begun Second World War and finishes up as an interventionist call-to-arms against the global threat of Nazism. I think it works, aided naturally by the writing of the justly celebrated screenwriting partnership of Wilder and Brackett, capable direction of Mitchell Leisen and especially the on-screen chemistry of the emerging Ray Milland and the established Claudette Colbert. You can almost picture the censor of the day's pencil hovering over some of the early scenes in the movie as they coyly play cat-and-mouse with one another, in particular one risqué exchange between the two stars with a double bed prominently featured in the background. Walter Abel as Colbert's end-of-his-tether editor is rather clichéd but largely speaking, the parts of the lesser characters, such as Milland's two pilot chums and the hotel maid with family caught up in the confusion which add some shade and light to the main characters' motivations are well selected and portrayed. I particularly appreciated the topicality of the depiction of very recent real-life events such as the sinking by German submarines of the cruise-liner Athenian taking Milland and Colbert back to the States and the montage of succeeding newspaper headlines documenting the at-the-time seemingly unstoppable march of the German Army. Colbert later named this as her favourite of all her movies and I doubt that's just because the film ended up on the right side of history. It manages that tricky balancing act between comedy and drama in a contemporary setting and still finds room for an eloquent wake-up call to the rest of the world at its time of greatest need.

Director: MITCHELL LEISEN. Screenplay: Charles Brackett, Billy Wilder. Adapta¬tion: Jacques Thery. Original story: Ben¬jamin Glazer, John S. Toldy. Photographer: Charles Lang, Jr. Film editor: Doane Harrison. Art directors: Hans Dreier and Robert Usher. Set deco¬rations: A.E. Freudemann. Costumes: Travis Banton. Music composed and directed by Victor Young. Producer: Arthur Hornblow, Jr. Copyright 8 November 1940 by Paramount Pictures Inc. New York opening at the Para¬mount: 16 October 1940. U.S. release: 8 November 1940. Australian release: 30 Janu¬ary 1941. 12 reels. 9,915 feet. 110 minutes. SYNOPSIS: Girl reporter rescues rebel leader from Spanish prison - exciting, ingeniously cliff-hanging stuff - but, alas for the good of the rest of the picture, they fall in love. NOTES: The Academy of Motion Picture Arts and Sciences handed their Annual Award to Benjamin Glazer and John S. Toldy for Best Original Story (defeating Comrade X, Edison the Man, My Favorite Wife, and The Westerner). Also nominated for The Academy of Motion Picture Arts and Sciences Awards for black-and-white photography (won by George Barnes for Rebecca); black-and-white art direction (won by Pride and Prejudice); Best Music Score (won by Alfred Newman for Tin Pan Alley). COMMENT: Made by the same team responsible for Midnight a year earlier, but this time the Brackett-Wilder script is the weakest link. Despite a really huge cast with some magnificent players, after a very exciting first reel, this movie goes slowly but steadily downhill until all we are left with of interest is Walter Abel periodically exclaiming, "I'm not happy!" But that first reel is must-see material. Frank Puglia is terrific!

Both Claudette Colbert and Ray Milland are superb in this brilliant war comedy drama in the shadow of the Spanish civil war and the Second World War. It was Claudette Colbert's own favourite among her films, and you'll understand some of its qualities better when you study the list of the script writers, one of whom was the young Billy Wilder. The dialog is brilliant all the way, there is any amount of eloquent scenes, and the romance gradually grows quite naturally with some skirmishes along the way. Walter Abel also gives one of his best performances as Claudette Colbert's employer, as he also gets his nose too far out into the business. Claudette Colbert is a journalist who goes to Spain to get out an American prisoner, who awaits his execution. That is Ray Milland, and the very first scene is perhaps the very best one, as Ray Milland sits in his cell waiting for his execution playing cards with a priest, while the firing squad is busy just outside, leaving one body just outside Ray Milland's window in a shadow that won't go away. Add to this the romantic music of Victor Young, which adorns many of the long romance scenes, while gradually the comedy transcends into a major war drama, with some curious coincidences on the way: on the train to Berlin, both Ray and Claudette being together on it, the emergency break is pulled just as the war breaks out, and when Ray and Claudette decide to leave all career thinking behind and go back to America to embark on a normal life, their ship gets torpedoed, and the war starts for real. It's a delightful and innovative comedy all the way, eloquently mixed with some very serious business, and the film is so positive and edifying, that it would be worth returning to it every once in a while - it's the perfect emergency readiness film.

Mitchell Leisen gets superb performances from CLAUDETTE COLBERT and RAY MILLAND in ARISE, MY LOVE. It's a comedy/drama with Claudette as a journalist tired of covering fluffy stories who decides to get into serious journalism by rescuing a man about to be executed during the Spanish Civil War (Milland) so that she can be the first writer to get a scoop on a great story. As soon as she and her prisoner meet, the deft comic timing of these two pros are given great support from Billy Wilder's clever script. Early on, there's a scene of mistaken intentions that has Ray thinking Claudette wants to seduce him. He's oblivious to the fact that she merely wants to take some photos of him for the article she intends to write. The double entendre dialog has seldom been matched, in this scene alone. Personally, I prefer "Midnight," another Leisen/Colbert film shown before this one on TCM. It's even wittier and much funnier. The trouble with ARISE, MY LOVE is that it attempts to do too many things at once and emerges as an uneven romantic comedy with a war background. For the ending, Claudette gets to deliver a flag waving speech that is obviously meant for 1940 audiences who were facing the prospect of getting involved in WWII. Lots of laughs along the way with both stars delivering excellent performances.

As a fan of Colbert as I was looking forward to watching what she described as "her favourite film"!.Though it starts well enough ,the writing ,plot and characters don't fully convince.Though in real life Colbert and Milland were very attracted to each other ,it doesn't feel that way in the film. As someone else has commented there is too much talking .Sometimes a surreptitious glance or a nervous laugh can express a depth of love that all the "I love yous "in the world fail to match. Colbert obviously remembered this film with great affection,possibly because of her dalliance with Milland and because of its propaganda use in the war effort-the Germans had invaded her country of birth . Colbert does well within the confines of the script ,but for one scene (when she rings her boss after the sinking of her boat)it is routine for this accomplished actress. In fairness the writers predictions in the final scenes about the Third Reich failing were spot on.

I loved this film from beginning to end. It made me laugh and it made me cry, and it left me with the feeling that I had watched one of the best screen romances ever. The script was so wonderfully written, the dialogues really sparkled like diamonds and ... Ray Milland was handsomer here than in any other film I have seen him!! He treated Clodette Colbere with a mixture of humor ,tenderness and respect, that was very endearing and touching. At moments, he seemed like an insecure little boy, and I am sure that he was never like that with any other of his co-stars. Needless to say, I loved this aspect of his very much!!! Something else that I found interesting is that the film was made almost simultaneously with the historical events it describes. This adds to its authenticity and gives us a sense of watching history in the making. The mixing of comedy and drama does not annoy me. It is more than realistic and in fact welcome, here. We deal with two very smart and out of the ordinary people, living very unusual lives, taking active parts in what goes on around them, so it is to be expected that they will have an acute sense of humor as well as forceful feelings about the war and about each other. In our lives there is place for both comedy and drama, why it should not be so for a movie, who depicts life? Just to add that the DVD now available, (spanish edition but with English audio)has very good quality of sound and picture, and does justice to this uniquely beautiful film.

Up until 1939 when Warner Brothers took Nazi Germany in "Confessions of a Nazi Spy", Hollywood was very silent about Hitler and the Third Reich. Part of this was because the American public was staunchly neutral towards Germany and the war. In fact, Hitler had been a rather popular guy in America! Another reason films didn't criticize this repressive regime was because Congress had enacted some unconstitutional legislation that prevented Hollywood for taking a stance towards or against any side in the conflict in Europe! However, starting in 1940, the studios finally declared their independence and a wide variety of anti-Nazi films were released--the tide had finally turned though it wouldn't be until almost 1942 that the US finally got pulled into the war. With films like "Storm Warning", "Escape" and "Arise, My Love" were just a few of the 1940 anti-Nazi films. The movie finds Ray Milland in a Spanish prison awaiting execution after his capture by Franco's Nationalist troops. If you don't remember your history classes, these Nationalists were allies with the Germans and they provided assistance during this civil war--as they wanted to try out all their cool new weapons on the Republican soldiers. As Milland is awaiting death, he laments that he wishes he could live long enough to fight the Nazis directly--a distinctly anti-neutrality statement! However, just before he is shot, his wife shows up and is granted a pardon if he just agrees to leave the country. However, Milland is NOT married and Colbert is actually a crazy reporter who is trying to do a good thing AND get a great story! When this is discovered, the two beat a hasty retreat across the border to France. Soon, the couple are hanging out in Paris. Milland is now a bit of a celebrity and Colbert decides to stick by him to get a story--though the story seems over and you wonder what Colbert really wants. Not surprisingly, the two soon fall in love. But, oddly, Colbert fights hard NOT to fall for Milland and only when she shares a train car on the way to a new assignment in Berlin does she finally give in to Milland's advances. Instead of continuing the journey, they take a brief vacation together--during which WWII begins when the Germans invade Poland. Now the couple are unsure what to do next. Should they go back to America and settle down to a life or domesticity or should they stay and do their part to battle the Fascists? When they chose the safer life in America, things don't go as they'd expect as the ship is sunk by a Nazi sub. This ship, the SS Athenia, was actually the first British ship sank in the war. They survive but what's next?! Try seeing the movie yourself to find out what the two lovers decide to do now. This film is among the most romantic films Milland or Colbert made in their very distinguished careers. But, it is unusual in that it also has such a highly serious side to it as well--and you know the romance is fated as well--providing a wistful tone of the film. It comes off very well and the dialog sparkles...and it has a timely political message as well. Extremely well done and enjoyable.

This film is pretty good but oddly uneven. The script (which Charles Brackett and Billy Wilder both worked on) is about the adventures and experiences of soldier-of-fortune Ray Milland and reporter Claudette Colbert across western Europe from Spain to Germany and then to England. Colbert is working for an American syndicate out of Paris that is headed by Walter Abel. She goes to Spain, where the Spanish Civil War is ending with a Fascist victory. Milland is going to be executed (he's been fighting for the Republic), and Colbert tells the prison governor (George Zucco) that she is married to Milland. She is allowed to see Milland, and helps spirit him out of the prison for the sake of the interview and scoop. They get to France, and Milland proceeds to romance and slowly win Colbert. The rest of the film is done against the background of the worsening international crisis, seen first hand by our hero and heroine. Colbert does not like the Nazis, but she is slower on the realization that they are not limited in their goals but determined to spread control over as many peoples as possible. Milland (when not trying to break down Colbert's "friends only" point of view) is showing her the ropes of the real German led threat to Europe and the globe. The unevenness (despite having Wilder and Brackett working on the screenplay) is due to the nature of the light banter between the romantic leads, and the growing threat they observe. It is not a glaring weakness, but it seems to split the film in half at times. Sometimes it has a belated effectiveness in carrying out the warning of the movie. Abel is all business and hectic confusion (Esther Dale, as his secretary, helps keep him directed to his purposes) in sending Colbert to her jobs and getting her stories back to the U.S. At one point we find Milland and Colbert in Paris, with the latter doing his best to get Colbert to loosen up - taking her to Maxim's and other romantic nightspots in that city. It does eventually wear down her resistance to him. But late in the film it is June 1940, and Abel is on hand to see the entrance of the victorious Nazis into Paris. He has a very good moment when his business viewpoint dissipates in shock as he realizes the "city of lights" is in the hands of these modern barbarians. His comments at that moment make us think back to the brighter Paris we saw earlier in the sequences at Maxim's.* (*A curious sidelight: Although from different studios, the events of that June day play a role in Paramount's ARISE, MY LOVE, and Warner's CASABLANCA: Bogart and Dooley Wilson flee Paris (to avoid arrest from the Germans) by train, and Bergman deserts Bogart (to return to the wounded Paul Henreid) at the same time that Abel is watching the arrival of the same German troops.) Despite the unevenness the film is worth seeing. It has many good moments in it (including an unexpectedly bumbling Zucco - his usual evil control of events thwarted by his act of kindness to the pretty Colbert). It is also, as far as I know, the only movie to mention a forgotten war crime of the opening of the war: the torpedoing and sinking of the steamer Athenia off Ireland with loss of life. The incident (in September 1939) is not as recalled as the similar Lusitania incident of 1915 in the same waters because the losses were not as huge (fortunately). Oddly enough the Nazis were quick to be aware of the similarity, and the Goebbels propaganda machine cranked up a story that the British were responsible, not the Germans. Nobody believed it then or since. Despite it's somewhat split personality the film gets an "8" out of "10".

In the final analysis, a film is about cinematography. From the very beginning at the Spanish prison, extraordinary cinematography is used to an exceptional degree, and it continues through the film. There are minor exceptions, as with the file film of airplanes flying. More importantly, the film claims the obvious: The Spanish government in 1939 had more than casual leanings toward Berlin. The bombing of Guernica by the Nazi air force is testimony, here reinforced. Tom Martin (Ray Millard) says he had a pet rat in his jail cell named "Adolph." Spain's neutrality during World War Two is in question with Paramount Pictures, as it was in diplomatic circles. Of course, a 1940 movie about event of 1939 has the advantage of historical retrospect, yet the public actions of the Spanish government stand. Claudette Colbert as Agusta Nash is the career woman whose career comes before love, who puts her career before all. Her assignment as Special Berlin Correspondent is to tell of Hitler and his gang. A series of unpredictable events leads her to redefine her sense of patriotism. There are, in effect, many loves which must arise and spite the envious moon. Cinematography, historical theme, and some darn good acting all unite for an effective historical perspective on life at the beginnings of World War Two.