Lubitsch, as “the greatest writer in cinema history,” as Billy Wilder called him (though Lubitsch never took a writing credit in Hollywood), wanted to make all his characters distinctive, to impart to even the smallest bit player a measure of personality. Well, in a soufflé like this, why bother making them realistic, when what we principally need is charm and funniness? Why not make them all a bit mad? In this idea, I propose, is the origins of screwball.
Remaking The Marriage Circle as a musical in the underrated 1932 One Hour with You (co-directed, somewhat contentiously, by George Cukor), he livens things up with rhymed dialogue and direct addresses to the audience, not to mention an opening evocation of marital bliss as humorously suggestive as anything in the pre-Code canon.
If there's any doubt that ONE HOUR WITH YOU is solely Lubitsch's film, one only has to look at the placement of the film's first "superjoke," which Billy Wilder considered to be the essence of "The Lubitsch Touch." ...The superjoke is marriage itself, and a happy one at that. It's Lubitsch's indelible mark, one that solidifies both his touch and his takeover.