A disappointment. Until now, all Lubitsch films I’ve seen have been ones I can imagine non-specialist audiences delighting in today. Anna Boleyn is of obvious historical interest — the most expensive film made in Germany to that point, thousands of Berliners worked on it, the President of the Weimar Republic visited the set sparking off riots amongst the extras, etc. I can’t imagine admirers of Lubitsch or of Weimar Cinema or of Silent Cinema NOT wanting to see Anna Boleyn. The story is a legendary historical tragedy so famous everyone’s familiar with the bare outline of it: Henry VIII (Emil Jannings) rejects his wife and his religion for Anne Boleyn (Henny Porten) but eventually sends her to the scaffold when she can’t produce what he wants, a male heir.
Henny Porten and Emil Jannings
Anna Boleyn is an attempt by Lubitsch and his producers to repeat the success of Madame DuBarry (re-titled Passion in the US). Lotte Eisner historically situates both films as part of the Kostümfilme cycle, a ‘flood of historical films that swamped German cinema from 1919 to 1923-24’, which she damns as characterized by a ‘rather superficial treatment of certain purely exterior elements’ and sees as ‘an expression of the escapism of a poverty-stricken, disappointed nation which, moreover, had always been fond of the glitter of parades’[i].
No expense was spared to show the glitter of parades
No expense was spared in the making of Anna Boleyn. According to the Lichtbild-Bühne in 1920, ‘‘The buildings alone gave employment to 14 site foremen, 200 carpenters, 400 plasterers, sculptors, etc. The historically accurate copy of Westminster Abbey required 380 sculptures, while 500 horses and 4000 riders and spectators were required for the tournament scene. Miss Henny Porten had to have sixteen costumes, and Mr. Jannings ten.’ [1] It’s always a bad sign when producers publicise numbers; as if large numbers of extras and high cost were indexically linked to quality with the publicity magically transubstantiating accounting into aesthetics. No one’s that much of a sucker.
The film certainly looks wonderful and must have seemed an astonishing spectacle in its time: the river barges, the jousting tournament, the weddings and coronations: all look sumptuous. These scenes seem as much of the time they were made in as of the time they portray and picking apart this mix of Weimar Berlin and Tudor England can in itself be a kick for the audience.
The Queen in foreground, nurse in background, child in the middle, almost out of sight
Anna Boleyn boasts a very beautiful Henny Porten – noble, self-sacrificing, loving — and Emil Jannings as Henry VIII. This film helps us understand why Porten was the biggest star of her era in Germany: aside from her beauty, she embodied particular ideals of womanhood: this Anne Boleyn is submissive, loves poetry, rural pleasures, her country and her baby. Her final scene where she goes trembling to her death for the good of her child, her country and the future remains moving and is a powerful ideation of the value of self-sacrifice, probably just the moment before all we’ve since come to know as ‘Weimar Berlin’ would sneer those notions down and jazz them out of view for another generation. We understand too why Jannings was considered the era’s greatest actor; he’s brutish here and with a violent edge but also evoking a sexual danger I’ve not seen in him previously.
A crowd, framed and given character.
Lubitsch does give character to a crowd. It seems to have a life of its own here, a personality, and one that shows different moods in different scenes; and of course this is an example of how Lubitsch told the of the social through the private, the historical through the personal. According to Hans Helmut Prinzler, the production was a great success. It cost around 8 million marks but ‘ticket sales in the US alone, however brought in 200,000 US dollars, almost double those costs.’[2]
Lubitsch frames Anna Boleyn; Weimar Germany frames Tudor England
This lovely tinted version looks sumptuous and is a real pleasure to watch. But this is the first of Lubitsch’s films that I haven’t wanted to show an excerpt to friends and say, ‘Look at this; isn’t Lubitsch great!’ If he is in this film; it’s in ways that I can’t yet fathom or know how to appreciate.
Jannings is both hammy AND great as Henry VIII.
José Arroyo
dying to do the right thing
[1] Hans Helmut Prinzler, Sirens and Sinners: A Visual History of Weimar Film 1918-1933, Translated from the German by David H. Wilson, London, Thames and Hudson, 2013. Original Edition copyright 2012, Schirmer/Mosel, Munich, 2012, p.92.
[2] ibid. p. 92
[i] Lotte Eisner, ‘Lubitsch and the Costume Drama’, The Haunted Screen, p. 72.
Sabine Hake in Passions and Deception: The Early Films of Ernst Lubitsch, calls The Oyster Princess, ‘the first Lubitsch comedy that shows a distinct filmic style’ (p. 40), and cites Béla Bálazs as writing ‘Here the comic mode already emanates from a directorial style that is founded on self mockery. Film fashions and film manners, even filmic effects are unmasked , and all that only through a slight touch of exxageration’ (pp.40-41).
In The Oyster Princess, a rich American oyster heiress (Ossie Oswalda) living in a palace German Aristocrats can no longer afford wants to get married. Her friend has nabbed a count so her father, Mister Quaker (Victor Janson), promises a prince. They go through the list of candidates and find a tip-top but poor one, Prince Nucki (Harry Liedtke). Before he commits, however, he sends his valet, Josef (Julius Falkenstein) to check her out first and, after a series of incidents, it is Josef who ends up married to Ossie. However, the real prince and the oyster princess eventually meet accidentally, fancy each other rotten, and everything ends happily ever after.
sly and horny apprentices abound in early Lubitsch
Ossie Oswalda throws things around with delightful exuberance. Lubitsch uses rhythmic repetition again, servants and servants and servants, or money being borrowed from person to person to person to person, diminishing at each stage for comic effect. There are apprentices: Gerhard Ritterband, the same one that got slapped around in Die Puppe, gets slapped around again, and again to comic effect. There’s a bandleader (Curt Bois) who boosts the orchestra into a frenzied fox-trot and accentuates each change in rhythm with a sharp jut of his butt.
Curt Bois leads with his butt.
There is a fantastic fox-trot sequence which is like a musical number with all the energetic and utopian thrust such numbers would later convey in Classic Hollywood . It’s very long, with dancing all over the house, including through the kitchens, the stairways and so on and is a cinematic tour-de-force .
The exuberance of the fox-trot extends even down to the kitchens
The film exudes a love of all things American, particularly its assertion of democracy. The Oyster King is obviously a grotesque parody of an American millionaire but he’s as good as anybody, can buy princes who in this film are not expected to be either bright or useful, and is not impressed by anything except love. The sets are still papier-maché-y but opulent; the clothes delightful. Americans are satirised but fondly and with admiration; and the coming together of German Aristocracy and American Democracy are seen as an ideal, one better enjoyed in bed and best seen through a key-hole.
Ossie and Prince Nucki through a keyhole
Hake beleives that ‘with The Oyster Princess Lubitsch had come into his own (p. 41). One can but agree.
I Don’t Want to be a Man/ Icht möchte kein Mann sein is a delightful sex comedy, a movie about teenage rebellion from a hundred years ago, funny and amiable but not without edge. Ossie (Ossie Oswalda) is a young woman who enjoys eating, drinking, smoking, playing poker and flirting with the boys. What’s not to like? Well, for one, her governess (Margarete Kupfer) doesn’t think it ‘proper’ for a young girl to do these things. She prevents her from smoking but then can’t stop herself from getting giddy on a few drags herself. Likewise, Ossie’s uncle, Counsellor Brockmüller (Ferry Sikla) is shocked to catch her drinking a thimbleful of wine from an itsy-bitsy wine glass but then gulps away on a huge goblet himself. The older generation has not only forgotten what it is to be young, they’ve become hypocrites in the process. The boys love Ossie and gangs of them gather on the street as she sits by her window. But when she flirts with them, the governess is appalled: ‘And you want to be a refined young girl!’ ‘I don’t want that at all!’ says Ossi.
Ossie’s governess doesn’t practice what she preaches
It seems like all the adults are preventing Ossie from having fun, from doing what they do as a matter of course, from being a person, from being herself. All their urges to be ‘proper’ are experienced as restrictions on personal freedom and individual desires. When her uncle goes away on a trip she gets a new guardian, Dr. Kersten (Curt Götz), a handsome but stuffy disciplinarian who asks that she stand in his presence and bow to his wishes. ‘I’ll break you down yet!’ he tells her. ‘ Why didn’t I come into the world as a boy?’ she in turn moans at us in the final inter-title of the 1st act, soliciting our agreement as to the unfairness of gender roles and the injustice of their social enforcement. These early scenes, showing as they do social constraints on individual freedom and identity; and more specifically, patriarchal constraints on women’s desires and behaviour, are an eye-opener to anyone interested in the representation of women or the on-screen treatment of gender. I had never seen Ossie Oswalda before. She’s as alive, witty and transgressive a presence as I remember on-screen and I found her a revelation: irrepressible, joyous, transparent, energetic, social; a utopian flower in the worldly garden of weeds, a light that everyone’s out to extinguish. One would expect the Second Act to ‘correct’ some of Ossie’s transgressions, to claw back and reclaim for men some of the injustices towards women exposed in the first act. But this is Lubitsch. We do get to see some of the difficulties men have in dressing: those bow ties can be such a problem; and poor men have to give up their seats in the U-bahn when ladies are standing up; and they musn’t whine; and they’re so aggressive at the coat-check!; and the way women chase them is so ruthless! Boo-hoo. All of this ‘poor men’ malarkey is clearly undermined by Ossie being OUT, without a chaperone, on the street, in the U-bahn and in the hustle and bustle of a glamorous nightclub, doing what she wants and being free.
Ossie dragged up to go out.
At the beginning of the second act, we see the sly pleasures Ossie takes in having all the taylors fight to take her measurements for her men’s suit. In the latter part, we see her being chased by women and not getting a lot of joy out of it: Ossie’s clearly heterosexual. We’ll find out her guardian’s sexuality is much more questionable. We already know that sex is the very air Lubitschland breathes. When Ossie sees her uncle at the nightclub flirting with a girl, she sets out to steal her away from him but before she can do so, the girl has already found someone else and Ossie, masquerading as a young roué, becomes friends with her guardian. On the evidence of this second act, Lubitsch is already a master of the medium. When we’re shown the nightclub (fig. 1), we get a wonderful composition with waiters entering from the left bottom corner of the frame on a diagonal and towards the band leader, set up as the frame’s horizon, to which waiter, after waiter, after waiter, is heading. The composition is brilliant, the staging sublime , and the rhythm of the scene, already that of the ‘Lubitsch’ we know.
fig 1
Lubitsch handles compositions in depth with ease and they recur frequently here. For examples, see the scene where Ossie and her guardian are in opposite balconies whilst the dancing happens between them (Fig. 2), the frame split vertically into three areas of action, with Ossie in the upper, receding third. The upper two thirds of the vertical frame is also split three ways horizontally, with Ossie, out of focus in the middle of the top third; her guardian and the woman Ossie sets out to steal from him are in focus and occupying all of the bottom third of the frame. See also the marvelous use of the mirror, when Ossie momentarily forgets she’s a man and is laughed at for powdering her nose, and how this enables us to see space that would normally be off-screen, distinguish between foreground and background, and create a dynamism in the composition through Ossie looking down, the women laughing and looking directly at the mirror, and the men looking in the opposite direction, towards the coat-check. Note too how this composition is not only dynamic and aesthetically pleasing but also coheres narratively: Ossie is shown twice, herself and her reflection, at the moment that she forgets that she is a woman passing as a man. Terrific.
fig. 2fig.3
I Don’t Want to be a Man/ Icht möchte kein Mann sein well illustrates one of the things Lubitsch learned from Reinhardt and that Lubitsch would be an acknowledged master of from this period until he departed for Hollywood in 1922 and beyond (see, for example 1929’s Eternal Love) : his handling of the crowd scenes. And this not only in the nightclub scenes with their dozens of extras but in other story-telling moments where an abundance of extras does not on the face of it seem absolutely necessary: our introduction of the guardian in the nightclub for example, where he’s framed by a bevy of people dynamically arranged in the staircase behind him; and the rhyming shot with Ossie in front of a similar grouping, before both of them coming together (see fig. 4)
fig. 4fig. 5
Lubitsch likes actors so that he always gives each a bit of business. One can look at any part of the crowd and find something interesting going on, something thematically linked to the story. See for example the still from the coat-check scene below (fig. 5): Ossie is in the centre, the woman on the bottom right already checking ‘him’ out, the two women chatting on the right hand corner that will also soon be flirting with ‘him’, the man talking to the two women in the background in front of a curtain they will soon move through, thus creating a feeling of depth; see also the man at the coat-check looking towards the crowd of men who are all headed towards him jostling to get their hats checked-in. It’s not only beautiful to look at, but lively; one gets a sense of a whole world, a complex one, one in which Ossie’s story can take place. For if Lubitsch demonstrates he’s a master of the medium, it’s because of the stories he tells and how he tells them.
In the last act, Ossie and her guardian get tipsy. They smoke, drink champagne, and offer a toast to ‘brotherhood’; and then…. their lips lightly brush. ‘What’s your name,’ asks the guardian. ‘It’s better not to ask’, says Ossie. Then the lip-brushing becomes a more conscious, if still very light kiss. It’s not a deep French as they used to say in my home-town. They’ll then kiss some more and will continue to do so in the cab on the way home. The scenes are undeniably erotic, very subtly handled, with a frisson of the transgressive that is yet so light as to be mistaken for accidental whilst going slightly over the edge. In this way, even the more staid members of the audience can feel daring without having their hair stand on end.
Nicola Lubitsch, Lubitsch’s daughter, has called this film Victor/Victoria fifty years before Victor/Victoria but it is so much better than the Blake Edwards film (I’m aware of the 1930s German version but have not yet seen it). I Don’t Want to be a Man is less coy, more complex, more human than Blake’s film. For one, Ossie likes being kissed, is clearly heterosexual, but is enjoying her transgressions which to her simply amount to kissing and which give her a kind of power, in that she gets the upper hand over her guardian. Equally interestingly, the guardian knows he’s kissing a man and in the cab it becomes clear that he is not at all embarrassed by it, likes it, and does it again. One can so easily detect how this film was an influence on Dietrich and Von Sternberg in Morocco, not only sartorially, in that Dietrich is wearing a sleeker version of the top hat, white tie and tails that Ossie wears here, but in the labile view of sexuality, one with a ‘twist’ in that Ossie doesn’t like the girls as much as Dietrich does whereas the guardian likes the boys a lot more than Gary Cooper.
The guardian, femmed-up.
At the end, they wake up in each others’ beds, he with a feminine lace cap on. She has to trudge home through the streets of Berlin (and these are clearly shot on location). When he discovers that it was his guardian he had been kissing and asks her if this was so, Ossie retorts in the intertitle, ‘That’s right. The one and only!’ ‘And you let yourself be kissed by me’, ‘Well, didn’t you like how it tasted?’. The film ends with her turning the tables on him ‘I’ll bring you down yet…Down to here’, she says pointing to the floor just as he had done at the beginning. As the end, they kiss, and she tells us ‘I wouldn’t like to be a man’. But we’re left with the impression that she actually had a really good time impersonating one. She got to do the drinking, smoking and carousing that she’d been forbidden in the beginning of the film. She sure seemed to enjoy having a man’s freedom and his agency, even if it was exhausting stuff. Plus she got her man in the end and put him in his place whilst doing so. Extraordinary stuff.
In a men’s suit…but with very feminine heels.
Watching the last third, I wondered what audiences who saw it might have made of it; how exciting it must have been to women and to the lgtb members of the audience, however such identities might have been constructed then, lucky enough to see this; and what it might have meant to them. I’d like to learn more about that. What I do know now, almost a hundred years later, is that the film enchants and dazzles with its technique, its joy, its appreciation of freedom and its expansive notion of humanity and its foibles. And on top of that there’s the brilliant exuberance of Ossie. Alice A. Kuzniar, writing in The Queer German Cinema on I Don’t Want to be a Man and on Der Geiger von Florenz writes that ‘the “gender trouble” of these films does not reside solely in their depiction of independent, strong-willed women and their rejection of patriarchal authority. Both films deeply unsettle sexual as well as gender divisions in a way inconceivable for even independent gay cinema as well as mainstream straight cinema today’. i I’ve not yet seen Der Geiger von Florenz but that is definitely the case in relation to I Don’t Want to be a Man and but one of very many reasons to see it. i. Alice A. Kuzniar, The Queer German Cinema, Stanford: Standford University Press, 2000, p. 33. José Arroyo
Ernst Lubitsch plays Sally Pinkus, a middle-class schoolboy, fun-loving, mischievous, disrespectful of his teachers, smoking behind his father’s back and already ogling the opposite sex — even if it means climbing a slippery pole in the schoolyard to do it. His father berates him for flirting with the maid but then does exactly the same once Sally’s out of sight. Sally is expelled from school, buys a treat for a girl he fancies and as a result has all her girlfriends chasing him for ice-cream too, all of which he very much likes but can’t afford. Very Lubitsch. Indeed according to Karsten Witte, ‘Sally Pinkus: that’s Lubitsch in the years 1915, 16, 17’.[i]
Sally fails High School and doesn’t receive a diploma. That his only good grade was for singing is narrated into a lovely punch-line in the film. Luckily for him and to the relief of his family, there are some jobs where qualifications are poo-poohed: he finds a work in a down-market shoe-shop. But he can’t bring himself to put shoes on customers with holes in their socks. On the bright side, he does fancy the boss’s daughter. The combination of weariness towards work and over-eagerness to flirt gets Sally fired. Again, he doesn’t remain unemployed long; he’s got the smarts to get another job, this time at an even posher shoe shop.
Sally doesn’t know where to draw the line, always slightly exceeding the limits of the appropriate. He loses his job when he can’t stop himself from tickling the foot of a pretty woman in spite of her obvious annoyance, thus losing the wage and getting nowhere with the girl. However, he wins it back by having the smarts to sell a woman shoes when no one else can: he simply changes the larger size the woman’s feet require to the smaller one her vanity desires. Again very Lubitsch.
If the milieu of the story had been set a little lower in the social scale, the story might have seemed archetypally picaresque. Except that Sally not only has wit and smarts, he also has drive. It’s perhaps this that leads Scott Eyman to compare him to Sammy Glick, after the heartless, ruthless and cruel hero of Budd Schulberg’s What Makes Sammy Run? and call Sally Pinkus a German Duddy Kravitz[ii], after the eponymous hero of Mordecai Richler’s The Apprenticeship of Duddy Kravitz.
The first comparison is simply inappropriate as, aside from a drive to succeed, Sally and Sammy share few traits: Sally is fundamentally kind and good. Moreover, though Sally does undergo an apprenticeship –and Lubitsch played many types of apprentices at this point of his career; apprenticeship was almost a characteristic of his star persona during this period — for Sally, power and money are not ends in themselves like they are for Duddy. What makes Sally run is a desire for the opposite sex, a desire that women exploit. There are a lovely couple of scenes where Sally’s shown making all the female employees laugh at his jokes. He clearly loves being surrounded by women and they in turn like him, at lest up to a point. Then, one of the girls who he’s been courting and who he sees holding hands with another man, is shown mocking his desire for her to the rest of the girls as he looks on, distraught. Sally has a vulnerability lacking in Sammy Glick and one that Duddy only acquires near the end of his story, after he’s served his own moral apprenticeship. For Sally money’s just a means. He wants a girl; and he wants more than sex from her.
One of the pleasures of watching this film, now almost a hundred years old, is that it offers an insight into a way of life and conditions of living now no longer ours. Who can now imagine a shoe shop with all those employees, each with their own gigantic locker in the basement? I suppose all old films tell us something about the time in which they were set, in a way, to a degree, up to a point; all of which require a set of knowledges and a method of decipherment. In Shoe Salon Pinkus we seem to see and understand with a greater degree of transparency and with an enormous amount of enjoyment.
The film also has elements that seem current and continue to resonate. For example, when Sally is loaned 30,000 marks to start his own shoe shop by the dancer he fancies, he goes to his boss and blows smoke in his face, just like in If I Had a Million when Charles Laughton wins the lottery, and after crossing door, after door, after door to get to the puffed up person at the top of the heap, he blows his boss a raspberry. Sally models his shoe shop on what were then the most fashionable and palatial temples of consumption, the Department Store, and calls it a ‘Shoe Palace’. He then gets the dancer to wear his shoes onstage so he can publicise where they can be bought. This mix of advertising, show business and consumption seem very contemporary. It’s the beginnings of an age of consumption in the society of the spectacle that we see in this film. Its energy is the propulsion of modernity itself.
The film ends with a long fashion show where Sally can show off his shoes and the audience can admire them. The clothes the various models wear down the runaway are also displayed as spectacle. When Sally’s shoes are singled out for praise in a review of the fashion show, the success of his shop is assured, just as if it had been the opening of a play. Shoe Salon Pinkus was probably shown in a movie palace. Both are settings for dreams and aspirations. This one is funny, sexy, infused with Jewish humour but driven by all that was then considered to be modern.
According to Kristin Thompson, ‘Jan-Christopher Horak has argued that from Schupalast Pinkus on, Lubitsch’s films move from slapstick to satire’.[iii] I’m not in a position to argue with him not having seen his earlier films. However, it is fair to say that there’s not a lot of slapstick in this film. The humour comes from situation and point-of-view. Certainly, Lubitsch himself, in what Scott Eyman has called ‘the archetypal Lubitsch performance’ performs[iv] broadly, excessively so to contemporary tastes. But there are no slaps, no sticks, no pratfalls. And there is certainly some satire, at least of what Lubitsch imagines women find attractive.
In Sabine Hake’s marvellous book on Lubitsch, Passions and Deceptions: The Early Films of Ernst Lubitsch[v], she suggests that movie spectators, cinema’s ‘customers’, are positioned to respond like the women in Lubitsch’s fashion show in this film: ‘Both address themselves especially to women: as the quintessential modern consumers, the foremost experts in question of style, and as that group in society that is most open to, and most in need of, the play with other identities.’ I think that’s right. But I also think Sally Pinkus’ desire is worth noting. In the film, Sally’s desires are the subject of the film, women are what he desires, his desires might be those of most in the audience, the consumption of clothes and shoes is perhaps most directly addressed at women. However, when Lubitsch closes in on the shoes, he also gets the models to lift their dresses and show their ankles. Both men and women have a lot to look at, appreciate and desire in this film.
José Arroyo
Note: Shoe Salon Pinkus is an extra in the Criterion blu-ray of To Be Or Not to Be and it would be worth getting just to be able to see it in a wonderful clear transfer, unlike the image grabs from an inferior version that illustrate this review.
[i] ‘Sally Pinkus: c’est là Lubitsch dans les années 1915-1916-1917.’ Translation my own. Cited in Hans Helmut Prinzler in ‘Eléments pour une biographie’ ‘Erns Lubtisch’ Cahiers du cinema/ Cinémathèque Française, ed. By Bernard Eisenschitz and Jean Narboni, 1985.
[ii] Scott Eyman, Laughter in Paradise, Baltimore; John Hopkins Paperback Editions, 2000, p. 46.
[iii] Kristin Thompson, Herr Lubitsch Goes to Hollywood: German and American Film After World War 1 Amsterdam: Amsterdam University Press, 2005, p. 21.
[iv] Eyman, op cit., p. 45.
[v] Sabine Hake’s, Passions and Deceptions: The Early Films of Ernst Lubitsch, Princeton: Princeton University Press 1992, p. 35.
Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood is everything one could hope for in a documentary on a great film directors. First and foremost it shows us excerpts from films (Der Stolz der Firma, Schupalast Pinkus, Meyer aus Berlin) that one had a vague knowledge of but had never seen and makes one long to see them. Lubitsch’s Berlin films are prodigious in number – between 1913 and 1922 he acted in at least 30 films and directed over forty — amongst them extraordinary achievements in film art that deserve to be better know. Some can now be seen in the Lubitsch in Berlin boxed set currently distributed as part of the ‘Masters of Cinema’ series and which includes Ernst Lubitsch in Berlin: From Schönhauser Allee to Hollywood as one of the discs. Fischer’s film on Lubitsch is succeeds in making us learn about Lubitsch’s early career as a whole as well as demonstrating the what, where, when and some of the how of some of his greatest films in this period. It leaves us eager to seek them out or to be once more charmed by their riches. If you have a Lubitsch addiction, Ernst Lubitsch in Berlin will stoke it.
The film’s objective is to restore Lubitsch’s German work to its rightful place in the Lubitsch oeuvre and to argue that that place is an important one. In order to do so, the film draws on the riches of film museums, the ones in Munich and Berlin are particularly well represented, not least through the expertise of their former directors, respectively Enno Patalas and Hans Helmut Prinzler. The use of a wide array of archival resources enable us to see Berlin at the beginning of the 20th Century, fabulous film posters, images taken on the sets of various production, what film studios were like at the time of the First World War, etc.; and we also get to hear the voices of legends like Henny Porten, Dietrich’s idol when a teenager and the great German star of the era, or Jörg Jannings reading the writings of his father Emil on Lubitsch. These words and voices — soft, romantic, hyper-emotional — evoke an era of filmmaking, an attitude to it, and even a whole tradition of German Romanticism that’s as rich as anything we get to see.
Tom Tykwer next to a statue of Lubitsch
The film uses talking-head interviews to narrate Lubitsch’s story in Berlin but also to illustrate, contextualize and learn to appreciate that which we’ve seen. Thus, interspersed with clips from the films, archival footage and a whole array of images from a variety of sources, the film also deploys the knowledge and insights of some of the most celebrated writers on Lubitsch and his time in Berlin (Michael Hanisch, Jan-Christopher Horak); some of the most famous German filmmakers of the time in which the film was made (Tom Tykwer, director of Run Lola Run, Wolfgang Becker of Goodbye, Lenin, Dani Levy, Go for Zucker!); and members of Lubitsch’s own family: his daughter Nicola, his granddaughter Amand Goodpaster, and the smart and trenchant voice of his niece, Evy Bettleheim-Bentley.
Did the Berlin Lubitsch suspect the Hollywood career that awaited him? Ali Hubert draws out the prospect.
Nicola Lubitsch was invited back to Berlin to help celebrate her father’s centenary in 1992 and her discovery of the Berlin culture of her father’s era and of his very great and unique contributions to it becomes the film’s central narrative and the viewers’ jouney. It’s as is if in telling us of her experience, in finding out new things about her father, his world and his art, she also helps us to discover and begins to set a context in which to appreciate this particular world and these particular works, guiding the viewer familiar only with the American Lubitsch into these silent treasures and the social, cultural and political contexts that helped create them. One couldn’t have asked for a better introduction to Lubitch’s pre-Hollywood life, career and work.
****
Lubitsch’s daughter Nicola kissing a statue of her father.
