Good movie but grossly overrated

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

This is a dark and sometimes deeply uncomfortable drama

Ernest Lubitsch used the charms and abilities of his leads Charles Boyer and Jennifer Jones to get some maximum performances out of them and make his next to last film Cluny Brown a great success. I've not heard that Lubitsch had to contend with Jennifer's husband and Svengali David O. Selznick on the set, but it's a safe bet they clashed because Selznick could not help interjecting himself where his wife was concerned.Jones is the daughter of English plumber Billy Bevan and the most interesting thing is that in this English setting her non-English speech pattern is perfectly acceptable even against Bevan's cockney accent. Jones was also perfectly acceptable in another English part in Love Letters and certainly got no criticism. The camera always loved Jennifer Jones and in parts like Cluny Brown as the girl next door she lit up the screen.Boyer as often as not played a whole lot of European types not necessarily French. Here he's a Czech refugee over in the United Kingdom fleeing from Mr. Hitler. The film is set in Neville Chamberlain Great Britain and Boyer is one of many bringing unpleasant news to the British public.After Bevan rescues Jones from Boyer and Reginald Gardiner Jones is placed as a maid at a country estate where she meets Boyer again. There should be some class barriers, but Boyer breaks them down and Jones is more than agreeable.Lots of agreeable Lubitsch touches and a minimum of Selznick interference make Cluny Brown still a treat after over 60 years.

This was the last film completed by Ernst Lubitsch - he began shooting That Lady In Ermine but died halfway through and it was completed by Otto Preminger - and though not quite up there with the likes of Ninotchka and The Shop Around The Corner it remains a fine movie. I've always had a problem with Jennifer Jones and it's basically the same problem I have with Gloria Grahame, overblown, faux sultriness and the impression that their underwear is soiled; strangely enough both of them were able to manage comedy, Graham in Oklahoma and Jones here. It seems that the movie bombed both in the US and here on its release in 1946 and in retrospect perhaps that was too close to the recent war for fluffy, polished satire (Prevert-Carne' had similar problems with La Port de la nuit the same year, albeit with a fantasy rather than a satire and both titles have now been reassessed). Seen today it's difficult to fault the targets, each hit squarely, and the idea of two nonconformists winding up together and here at least Lubitsch was on well-trodden ground given that Cary Grant and Kate Hepburn had done the same thing in Philip Barry's Holiday which was released in 1938, the year in which Cluny Brown is set. There's strong support from the cameo by C. Aubrey Smith downwards and if, predictably, Peter Lawford is the weakest element there are compensations in the shape of Margaret Bannerman, Reginald Ownen, Reginald Gardiner, Richard Haydn, Una O'Connor and Sara Allgood. For a swansong it's something of a trumpeter swan.

"Cluny Brown" had quite an impact on me when I saw part of it as a child. I'm sure my feelings had to do with the luminous beauty of Jennifer Jones and wanting to be just like her when I grew up. Jones has the title role of an imaginative young woman who, being the niece of a plumber, doesn't mind picking up a hammer herself once in a while and having a good whack at the pipes. It gets her into some trouble at the apartment of Hilary Ames (Reginald Sinclair) when she arrives before a party to clear out his sink before his guests arrive. There she meets Adam Belinski, a Czech academician who's on the run from Hitler. Well, that's who the very earnest Andrew Carmel (Peter Lawford) assumes he is...Belinski never actually says.When her uncle finds Cluny drunk and on the couch at the Ames apartment, he puts her into service. She winds up working at the Carmel country estate, where Belinski comes to stay. Attracted to her, he sets about aggravating the local pharmacist, Mr. Wilson (Richard Haydn) who is courting Cluny, and getting involved with Andrew's romance with Betty Cream (Helen Walker).This is a very sweet, light comedy from Lubitsch that touches on not only the class system in England but the attitude of the upper class toward the impending war. As in the Fox film "This Above All," the upper class in "Cluny Brown" seems annoyed by the mere thought of war and hope the nonsense will just go away. As for Cluny, born to her class, she's expected to work and behave a certain way, though it isn't really her nature.The performances are all very good, with Boyer a delight as Belinski, a character perhaps modeled on the Czech freedom fighter Jan Mazurek - though he basically doesn't act in danger or worried and manages to hit Andrew up for money. One is never really sure throughout the film what he's up to. Richard Haydn is hilarious as Cluny's suitor Mr. Wilson, one of the best scenes taking place when he plays the harmonium for her and she all but swoons. As his mother, all Una O'Connor does is cough, but that's all she needs to do. Playing opposite boyish Peter Lawford, Helen Walker seemed too old for the part of Betty. The other supporting players are all excellent, including Sara Allgood, Reginald Owen, and Margaret Bannerman.David O. Selznick saw Jennifer Jones in his outer office, and it was love at first sight. It's easy to see why. She is radiant and spirited as Cluny, her vivid imagination shining through her eyes and smile. A wonderful presence - gentle, vulnerable, and guileless."Cluny Brown" isn't at the top of Lubitsch's best - it's uneven and doesn't have enough of a plot. It's entertaining nonetheless, and the ending is pure joy.

Cluny Brown is an orphaned teenage girl working as a plumber's apprentice for her uncle, and living in London between the World Wars --and between classes. While cleaning out a clogged sink, she meets an older, expatriate Czech freedom-fighter, Professor Bilinsky, and starts a battle of the genders. She is also romanced by the scion of a gentry family and a local middle-class chemist (pharmacist).Cluny is lost in Britain between the wars. The British class system is still strong in the late 1930's. Cluny, however, does not fit into the rigid castes of the day. She's not exactly working class (she has too much natural intelligence and style) -- nor is she middle class (too independent) -- nor manor born (cockney through and through). She too practical for the chemist and too rough for the gentry. She ends up being hired as a maid, and not a very good one at that, dropping food and not knowing when, where, and to whom to speak. Of course, the Professor is also outside the system -- he has to borrow evening dress just for dinner and has no visible means of support.Cluny dates the other men before she realizes that she's a better match for Bilinsky -- and for the US, where class strictures are less strict.The acting is all-around excellent. Peter Fonda shows his chops at this early phase of his career. The screenplay and direction are especially fine. "Cluny Brown" is a wonderful treat. I saw it at a revival, but I urge you to rent it if you can.