CTVA 510

Prof. Eric Edson

12/17/2013
Adrin A. Gonzlez Camargo
Ernst Lubitsch: A German Filmmaker comes to Hollywood
1. Life and Career
Ver fe! direc"ors in "#e #is"or of $oll!ood co%ld #a&e li&ed and e'(erienced !#a" Erns"
)%*i"sc# did+ coming from german silen" cinema "o $oll!ood so%nd mo&ies, )%*i"sc# !as a*le no"
onl "o !i"ness *%" also "o e'(erience and cond%c" !#a" !ere in m o(inion "#e mos" rele&an" ears in
"#e #is"or of cinema and s(eciall in "#e #is"or of $oll!ood, since "#e &er in&en"ion of mo"ion
(ic"%res.
)%*i"sc# *egan #is career as a silen" comed ac"or in German, !#ere #e !as *orn and -oined
"#e famo%s .e%"sc#e T#ea"re !i"# /a' 0ein#ard", !#o !as a &er im(or"an" direc"or. 0ein#ard" #ad in
#is re(er"oire famo%s ac"ors li1e Emil 2annings or Pa%l 3egener. T#is !as "#e firs" s"age of )%*i"sc#4s
forma"ion+ #e claimed "#a" #e learned * o*ser&ing 0ein#ard" re#earsals.
5n a le""er "#a" )%*i"sc# !ro"e "o $erman G. 3ein*erg in 1677, )%*i"sc# confessed !#a" dro&e
#im "o firs" direc"+ 85 fo%nd mself com(le"el lef" o%" of (ic"%res, and as 5 !as %n!illing "o gi&e %( 5
fo%nd i" necessar "#a" 5 #ad "o crea"e (ar"s for m self. Toge"#er !i"# an ac"or friend of mine 9:; 5
!ro"e a series of one<reelers !#ic# 5 sold "o "#e =nion Com(an. 5 direc"ed and s"arred in "#em. And
"#a" is #o! 5 *ecame a direc"or. 5f m ac"ing career #ad (rogressed more smoo"#l 5 !onder if 5 e&er
!o%ld #a&e *ecome a direc"or> 9$a1e, 1662;.
T#is is, *eond an ?%es"ion, "#e (roof of #o! ac"ing !as so im(or"an" in )%*i"sc#4s films,
ra"#er "#an cinema"ogra(#. E&en !#en one can find o%"s"anding 9and e&en in some momen"s; &er
ra! and memora*le images, s%c# as "#e o(ening s#o" of "#e Parade in 8A @ro1en )%lla*> !#en !e
see "#e Parade from "#e Poin" of Vie! of a one<legged soldier, "#e cinema"ogra(# in )%*i"sc# is
e&iden"l no" as im(or"an" as "#e mise en scne !as.
E&er from #is firs" mo&ies, one can find "#a" cer"ain "#emes "#a" !o%ld 8#%n"> #im "#ro%g#o%"
"#e res" of #is filmogra(#+ "#e *a""le *e"!een se'es, "#e social (osi"ions, "#e #egemon of (o!er,
conf%sion !i"#in "#e roles *eing (laed and "#e 8ge""ing a!a !i"# i"> .
As #e came "o $oll!ood in "#e earl 16204s, #e made one of #is firs" im(or"an" (ic"%res+
0osi"a, !#ic# #e made along !i"# /ar Pic1ford. @ 2%ne 1623 #e !as serio%sl considering going
*ac1 "o German *%" a 3arner @ro"#ers offer (ers%aded #im "o s"a, signing a fo%r ear con"rac". A"
"#a" "ime 3arner @ros. !as a small *%" gro!ing s"%dio. Aro%nd "#is "ime, )%*i"sc# !as a*le "o see a
(re&ie! of C#a(lin4s 8A 3oman of Paris>, !#ic# la"er #e considered as a ma-or infl%ence on #im.
T#e 3arners allo!ed #im "o s#oo" !i"# an almos" com(le"e freedom, a condi"ion of !#ic# #e
"oo1 ad&an"age of &er !isel. $e made fi&e mo&ies !i"# 3arner @ros+ T#e /arriage circle 91627;,
T#ree 3oman 91627;, Aiss me again 91625;, )ad 3indermere4s Ban 91625; and Co T#is is Paris
9162D;. As (ar" of #is s%*"le "o%c#, !#ic# #e *egan "o de&elo( in "#is mo&ies, Erns" )%*i"sc# al!as
managed "o "rea" "#emes "#a" !ere no" as common or (er#a(s !ere (oli"icall incorrec" a" "#e momen",
s%c# as se' o%"side marriage.
As "#e 16204s decade !as ending, #e came closer "o !#a" "#e ind%s"r and "#e !#ole
mo&iema1ing aro%nd "#e !orld !as e'(ec"ing "o ac#ie&e+ "#e arri&al of so%nd. )%*i"sc# !i"nessed a
@road!a (la called T#e 2azz Cinger, !#ic# #e !an"ed "o ada(" *%" "#e (ro-ec" didn4" #a&e l%c1 a" "#e
momen". A ear la"er, Alan Crossland ada("ed i" and "#is mo&ie *ecame officiall "#e &er firs" so%nd
mo&ie e&er made. T#e ear !as 162E.
3#ile #e !as de(ar"ing from 3arner @ros, #e "ried "o nego"ia"e !i"# =ni"ed Ar"is"s *%" #e !as
"#rea"ened * 3arner !i"# a legal dis(%"e. T#en Paramo%n" offered a &er -%ic offer "o ma1e 5 mo&ies
in a 3 ear (eriod a" F125,000 (er film. A" "#is momen", /G/ also came "o "#e scene, as1ing 3arner
@ros. "o *orro! )%*i"sc# for one film. As 3arner !o%ld no" 8loose "#e reins>, *o"# /G/ and
Paramo%n" agreed on *%ing "#e *alance of )%*i"sc#4s con"rac" !i"# 3arner.
)%*i"sc# "#en made T#e C"%den" Prince 91627; !i"# /G/, s"ill in "#e silen" era and in 162E #e
direc"ed T#e Pa"rio", s"ar"ing #is long and &er (rofi"a*le rela"ions#i( !i"# Paramo%n". Along !i"# #is
second Paramo%n" film, E"ernal )o&e, "#e "ransi"ion from silen" "o so%nd<era !as *eing de&elo(ed. Bor
"#is reason, *o"# mo&ies !ere released !i"# added snc so%nd"rac1s.
A flo%ris#ing and (romising era *egan for *o"# )%*i"sc# and Paramo%n". As "#e so%nd era !as
com*ined !i"# "#e s"reng#"#ening of e%ro(ean connec"ions, )%*i"sc# *egan "#is ne! (#ase of #is
filmogra(# * direc"ing m%sicals. T#e )o&e Parade 91626;, /on"e Carlo 91630; and T#e Cmiling
)i%"enan" 91631; !ere #is firs" "#ree fea"%res in !#ic# #e s#o!ed #o! #is earl "raining in "#e "#ea"re
firs", and secondl in silen" cinema ga&e #im "#e *asis of #is career. T#is !o%ld "%rn o%" e&en"%all in"o
a (romising f%"%re as a direc"or.
T#is fisr" "#ree mo&ies se" %( a s"le in #is filmogra(#. 5" !as "#e ac"ing deli&er and "#e "one
!#a" !as mos" #ig#lig#"ed in #is films.
T#e ne'" mo&ie came as a com(le"el differen" one, no" onl from "#is ne!es" 8so%nd era> *%"
also in #is en"ire filmogra(#. T#e mo&ie !as called A @ro1en )%lla* 91632;, al"#o%g# "#e original
"i"le !as T#e /an 5 1illed. T#is mo&ie is an incredi*le drama. T#e s"or is a*o%" "#e g%il" of a frenc#
soldier !#o 1ills a german soldier and "#en comes "o #is "o!n in German, "ring "o "a1e "#e g%il" o%"
of #is c#es" and loo1ing for #is famil forgi&eness. Ge&er"#eless, #e finds #imself en"angled in #is o!n
ling !#en decides no" "o confess and (re"end "o #ad *een "#e german soldier4s friend. Pro*a*l
*eca%se )%*i"sc#4s 8"o%c#> !as al!as a*o%" elegan" #%mor and s%*"leness, (ro*a*l *eca%se
a%diences e'(ec"ed comed from #im, "#is mo&ie !as a commercial fail%re and #e ne&er direc"ed
ano"#er drama in #is life. T#erefore, e&en !#en #e firs" s"a"ed "#a" #e !an"ed "o do "#e (ic"%res #e
!an"ed "o do ins"ead of "#e (ic"%res "#a" e&erone else !an"ed #im "o do, )%*i"sc# finall ended
in"ermingled *e"!een #is o!n slan"ing for comed and "#e need of s%ccess.
5n 1637 #is Paramo%n" con"rac" allo!ed #im "o !or1 !i"# /G/. Af"er a long cal&ar, T#e
/err 3ido! !as done. @ "#is "ime, )%*i"sc# #ad "o face "#e censors#i( of "#e $as Hffice, (ro*a*l
"#e onl "ime #e e&er #ad "o deal" !i"#. 5" !as #is in"elligen" s%*"leness in "#e !a #e "rea"ed cer"ain
s%*-ec"s, s(eciall dealing !i"# affairs and lo&ers, for*idden rela"ions#i(s and "orrid romances !#ic#
ga&e #im "#e 8)%*i"sc# "o%c#> #e earned so fairl. T#e /err 3ido! !as cele*ra"ed * "#e cri"i?%e
*%", again, no" a commercial #i".
Af"er "#is mo&ie, )%*i"sc# came *ac1 "o Paramo%n" and #e re(laced Eman%el Co#en along !i"#
$enr $erz*r%n as "a1ing o&er of (rod%c"ion. E&er*od "#o%g#" "#a", *eca%se of #is re(%"a"ion of
*eing s%c# a con"roller and o&er!#elming crea"or, #e !o%ld im(ose "#e 8)%*i"sc# "o%c#>, *%" #e
ass%red #e direc"ors "#a" "#e !o%ld #a&e no in"erference in "#eir direc"ing. .%ring "#is "ime, im(or"an"
direc"ors as Aing Vidor and )e!is /iles"one !ere signed !i"# Paramo%n".
@ 1637 #e direc"ed "o( s"ar /arlene .ie"ric# in one of #is las"s called 8con"inen"al comedies>+
Angel and in 163E #e direc"ed @l%e*eard4s Eig#" 3ife, #is las" mo&ie in Paramo%n". 5n "#is momen" of
#is &as" career, )%*i"sc# !an"ed "o #a&e a "%rn in #is o!n !a of ma1ing (ic"%res, claiming "#a" #e #ad
no" onl direc"ed *%" s%(er&ised o&er D0 films in one ear in 1637.
T#e C#o( Aro%nd "#e Corner !as #is ne'" famo%s film. T#is mo&ie, * "#e !a, !as *ased in a
/iclIs )aszlo (la "#a" !as decades la"er ada("ed in "#e famo%s mo&ie 8Jo%4&e go" mail>. T#e C#o(
Aro%nd "#e Corner came o%" in 1670 and a(ar" from o"#er mo&ies, "#is s"or s#o!ed #o! real (eo(le
fell in lo&e. )%*i"sc# !as &er (ro%d of "#is mo&ie, saing "#a" 8Ge&er did 5 ma1e a (ic"%re in !#ic#
"#e a"mos(#ere and "#e c#arac"ers !ere "r%er "#an "#is (ic"%re> 9Carringer and Ca**a"#, ((. 15;.
A" "#e a""em(" of (rod%cing inde(enden"l, #e made "!o mo&ies+ T#a" =ncer"ain Beeling 91671;
!#ic# !as an o!n rema1e of #is 1625, Aiss me Again, and To *e or Go" no" *e, in 1672. T#ese "!o
mo&ies are so con"ras"ing *e"!een eac# o"#er, as "#e s#o! "#e %(s and do!ns of "#e Ge! Jor1
sociali"e in T#a" =ncer"ain Beeling and "#e s"r%ggle "o 1ee( "#e enem a!a in To *e or no" "o *e. T#e
#ero of "#is mo&ie, a (olis# ac"or, (las a nazi officer !#o "ries "o 1ee( a o%ng officer a!a from #is
!ife and sees #imself in&ol&ed in a dangero%s (lo".
Bor a (ersonal no"e, 5 *elie&e "#a" K%en"in Taran"ino !as "remendo%sl *ased in "#is mo&ie for
#is 5nglorio%s @as"erds. T#e mo&ie4s *ac1*one seems "o *e "#e s"r%ggle of "#e (olis# ac"or 2ose(# T%ra
"o earn recogni"ion+ from #is !ife, "#e a%dience and e&en "#e enem. T#e screen(la !as !ri""en *
Eddie /aer, !#ic# according "o Cco"" Eman 8is !arm and no ma""er #o! a*s%rd L"#a" grea" grea"
Polis# ac"orL 2ose(# T%ra ma *e, "#ere is some"#ing &er need, &er recogniza*l #%man in #is
ac"oris# &ani". T#a" !as "#e "r%e )%*i"sc# "o%c#> 9Eman, 2000;
@ 1677 #e came "o 20
"#
Cen"%r Bo' in !#ic# #e *egan "o read scri("s for #is %(coming
mo&ies, as #e #ad signed a "#ree (ic"%re con"rac". $e direc"ed $ea&en can !ai", a 0oal Ccandal and
Cl%n @ro!n. Af"er s#oo"ing 0oal Ccandal, #e #ad "o lo!er #is !or1load as a (rescri("ion from #is
doc"ors. T!o ears la"er, in 167D, #e re"%rned "o direc"ing, "#e ac"i&i" "#a" #e en-oed "#e mos", *esides
(rod%cing, (laing "#e (iano, 8s#immering> and (laing "#e c#arac"ers from #is mo&ies. Cl%n @ro!n
!as #is &er las" mo&ie as a direc"or, *eca%se #is ne'" and las" mo&ie e&er !as no" com(le"ed * #im+
T#a" )ad in Emire. As #e !as s#oo"ing "#is film, #e s%ffered a #ear" a""ac1 and died. T#e da"e !as
Go&em*er 30
"#
1677.
@eca%se dea"# ca%g#" #im in "#e middle of "#e s#oo"ing, i" !as H""o Preminger !#om finis#ed
"#e mo&ie. C"ill, Preminger and 20
"#
Cen"%r Bo' decided "o originall gi&e "#e credi" solel "o
)%*i"sc#, as an (os"<mor"em #onor. Hne ear *efore, "#e Academ #ad gi&en #im a #onora*le Hscar for
#is 8dis"ing%is#ed con"ri*%"ions "o "#e ar" of "#e mo"ion (ic"%re>.
As 2ames $ar&e (oin"s o%", Erns" )%*i"sc# s#a(ed s(iri" and s"le of $oll!ood comed
9$ar&e, 16E7;. $is s"le and "ec#ni?%e con"in%ed "#ro%g#o%" #is en"ire filmogra(# and #e !as,
(oin"ed o%" * man, sim(l "#e *es" direc"or in $oll!ood. 5n con"ras" "o o"#er grea" direc"ors as
C#arles C#a(lin or Hrson 3elles, )%*i"sc# #ardl e&er faced o*s"acles, a" leas" !i"#in "#e ind%s"r. $e
!as "#e 1ind of direc"or "#a" !o%ld ma1e a lo" o%" of almos" no"#ing. $is in"elligence made #im go
"#ro%g# !i"# moc1ing "#e *o%rgeois class, "#e classical male role and "#e s"ereo"(e of marriages.
2. otes on some of his films
5 #a&e (ic1ed a fe! of #is mo&ies "o ma1e commen"s on "#em. 5 #a&e considered for "#is essa onl #is
$oll!ood Co%nd Era films, for 5 *elie&e i" !o%ld *e *e""er "o narro! i"s &as" filmogra(#.
!he Lo"e #arade $1%2%&
T#is mo&ie !as #is firs" mo&ie in "#e Co%nd Era. $e %ses so%nd in a &er *rig#" !a and *eca%se "#is
!as a m%sical (iece, #is songs are also cle&er and *rig#". Bor ins"ance, "#e *ar1ing of a dog *ecomes
(ar" of a song. A s%*"le cri"ic is !#en, a" "#e *eginning of "#e mo&ie, a To%ris" G%ide e'(lains "#e
#is"or of a cas"le *%" no one seems "o (a a""en"ion, *%" !#en "#e To%ris" G%ide sas "#a" "#is cas"le is
!or"# 110 million, "#en e&er*od (as a""en"ion. T#ere are also elegan" -o1es s%c# as !a"c#ing "#e
Arm marc#ing in "oes *eca%se 8#er ma-es" is s"ill aslee(>. Come"#ing in (ar"ic%lar "#a" !as (ar" of
#is seal is "#e se?%ence !#en "#e K%een #as #er firs" da"e !i"# "#e Co%n" and !e don4" !i"ness "#e da"e
i"self *%" !e see #o! o"#ers s( and commen" on "#e da"e+ minis"ers, ser&an"s and ladies, !#o are
"al1ing a*o%" !#a"4s #a((ening *%", again, !e don4" ge" "o see "#is. @%", !#a" ma1es "#is mo&ie f%nnM
3# !o%ld !e la%g# on a Co%n"4s life and freedom *eing dri&en * "#e K%eenM @eca%se of "#e se'ism
of "#e era, *eca%se i" dra!s *ac1 "#e 8(o!er> lef" *e#ind. 3e canno" o*&io%sl -%dge i" from o%r era,
*%" i" is o*&io%s "#a" "#is mo&ie !as f%nn *efore feminism.
'onte Carlo $1%()&
T#is mo&ie s"ar"s !i"# a !edding "#a" doesn4" "a1e (lace *eca%se "#e *ride r%ns a!a. T#e scenario is
magnificen" and s%m("%o%s, *%" s%ddenl "#e rain comes and "#en !e see a sign+ #a(( is "#e *ride "#e
s%n s#ines on. 5ron and s%*"leness. T#e Co%n"ess "#en goes "o /on"e Carlo 9no" /on"ecarlo; and a
Co%n" falls for #er immedia"el. T#e Co%n"ess is r%nning a!a no" onl from 8o*liga"ions> *%" also
from a 8*oring> life... and from an old and *oring groom. Co%n" Barriere, !#o #as fallen for #er, !ill
find an !a of ge""ing "o #er, so #e disg%ises #im self as a #airdresser. Co, a #ig#<le&el (osi"ioned man
#as "o (la "#e role of a lo!<le&el (osi"ioned. T#is c#ange of iden"i" is, again, a (ar" of "#e "#emes "#a"
)%*i"sc# !o%ld "al1 a*o%" in #is mo&ies o&er and o&er.
Also in "#is mo&ie "#e %se of "#e Hff Ccreen is remar1a*le+ !#en Co%n" Von )ie*en#eim 9"#e original
Groom; comes "o /on"e Carlo, #e o(ens "#e door of "#e C%i"e and smiles a" Co%n"ess /ara 9o*&io%sl
s%r(rising #er; and !e do no" see #er, *%" !e see #im smiling and !e #ear "#e 8es, es> s(eec# of
Co%n" Von )ie*en#eim. 3e realize "#a" s#e !as no" (leased * "#is s%r(rise. Also a s%*"le cri"ic "o
gam*lers in "#is mo&ie is !#en "#e Co%n"ess realizes "#a" s#e #ad ne&er 1no!n /on"e Carlo *efore
*eca%se s#e !as gam*ling all "#e "ime. A co%(le of memora*le ?%o"es from "#is mo&ie+
5"4s a sill s"or, onl (ossi*le !i"# m%sic+ imagine a lad, falling in lo&e !i"# a #airdresser.
T#a"4s (ossi*le e&en !i"#o%" "#e m%sic.
And+
5 don4" li1e "#a" ending, 5 li1e #a(( endings...
5 *elie&e "#is "!o ?%o"es s%mmarize "#e s(iri" of )%*i"sc#. Birs", #o! an s"or is (ossi*le if i"s !ell
de&elo(ed and i" fi"s "#e genre, in "#is case, a m%sical 9or a comed, or *o"#;. Cecond, #e !o%ld al!as
#a&e #a(( endings.
*roken Lullaby $+ri,inally- !he 'an . /illed 0 1%(2&
T#is mo&ie (ro*a*l con"ains "#e mos" *r%"al and as"onis#ing ini"ial se?%ence of )%*i"sc#4s mo&ies. 5"
*egins * ma1ing a #ig# con"ras"+ a (arade, !#ic# is s%((osed "o *e a c#eris# e&en", is seen from "#e
(oin" of &ie! of a one foo" soldier. T#e soldier de(ic"s "#e "erri*le conse?%ences of !ar and, in "#e
same s#o", !e see "#e effor" of a "o!n "ring "o *e #a((. As a frenc# soldier carries #is g%il", #e comes
"o "#e german "o!n of "#e soldier #e 1illed, "ring "o ge" rid of #is g%il" * mee"ing #is famil. $e
decides "o lie and *egins "o ge" ac?%ain"ed !i"# "#e soldier4s former fiancNe and e&en"%all falls for #er
as s#e does for #im. Again, a 8for*idden> rela"ions#i(. T#is crea"es a social disas"er in "o!n, as (eo(le
*egin "o gossi( a*o%" "#e (resence of "#e frenc# soldier and "#e german soldier4s fa"#er is "a1en a(ar"
from #is old friends *eca%se #a&ing #im close in a friendl !a. T#en, in a *ar scene !#en "#e Ba"#er
co%n"er s(ea1s #is so<called friends, #e (oin"s o%" "#a" 8!e4re "oo old "o fig#" *%" !e4re no" "oo old "o
#a"e>. T#is is a &er serio%s s"a"emen", meaning "#a" e&en !#en !ar ends, #a"e remains.
!o *e or ot !o *e 1%12
Ano"#er mo&ie se"<%( in a !ar con"e'". 5" is in"eres"ing #o! "#is mo&ie4s (lo" !ea&es *e"!een
reali" and fic"ion. A (olis# ac"or, 2ose(# T%ra "ries "o ge" rid of #is !ife4s o%ng s"al1er, an officer
called Co*ins1i. T#e *eginning of "#e mo&ie is a se?%ence in !#ic# "#e diegesis !i"#in "#e %ni&erse is
*ro1en. As s(ec"a"ors, !e "#in1 "#a" "#is mo&ie is "a1ing (lace in "#e Ges"a(o4s #ead?%ar"ers *%" !e4re
ac"%all in a Polis# "#ea"re !#ile a T#ea"re com(an are re#earsing a (la a*o%" german nazis. A Voice
H&er narra"es "#e ini"ial se?%ence and ince("s "#e do%*"+ 3# is $i"ler in Poland *efore "#e 3355 #as
e&en *eg%nM T#e %se of a Voice H&er is &er rare in )%*i"sc#4s films.
As "#e com(an is (laing $amle", "#e main c#arac"er, 2ose(# T%ra, arg%es !i"# #is !ife a*o%"
someone sending #er flo!ers. $is -ealo%s is no" %nf%nded. 3e mee" Co*ins1i, "#e o%ng officer !#o4s
o*sessed !i"# /aria T%ra. $e send #er a message as1ing #er "o mee". C#e agrees "o mee" #im *%"
*eca%se #er "iming is so narro!, s#e as1s for #im "o come "o "#e dressing room !#en #is #%s*and, !#o
4s (laing $amle", *egins "#e famo%s monolog%e+ To *e or no" "o *e.
T#e !#ole mo&ie is filled !i"# dar1 #%mor and references "o E%ro(e4s #is"or, 3ar and T#ea"re
-o1es. Bor e'am(le, !e see "!o ac"ors !#o are in "#e $amle" (la com(laining a*o%" #o! "#eir role is
onl "o carr a s(ear... "#is is an o*&io%s reference "o C#a1es(eare4s name+ C#a1e<s(ear. Hn "#e o"#er
#and, an e'am(le of *lac1 #%mor is s#o!ed !#en "!o officers are com(laining a*o%" an e'ec%"ion
order+
54m sorr sir *%" o% signed "#e e'ec%"ion o%rself.
Jes *%" 5 sign so man e&erdaO
Also, ano"#er line remar1s no onl "#e *la1 #%mor *%" )%*i"sc#4s fre?%en" moc1er on
manhood+ 854ll decide !#o4s m !ife is gonna #a&e dinner !i"# and !#o4s s#e gonna 1ill>.
Cluny *rown 1%12
T#e "i"le of "#e mo&ie is "#e name of "#e main c#arac"er. @rig#"l (erformed * 2ennifer 2ones, Cl%n
@ro!n is a lo!<class re*ellio%s 9and some#o! (l%m*er; girl !#o is #ired "o !or1 in "#e co%n"r. C#e
comes across !i"# a man "#a" #e me" a" "#e *eginning of "#e s"or, Adam @elins1i, a Czec# !ri"er !#o
4s fa1ing "o *e a foreign agen" fig#"ing agains" "#e nazis and #iding in "#is #o%se. Come of #er ?%o"es
#el( "o e'em(lif #er c#arac"er+ 8Girls lea&e #ome *eca%se "#e4re "#ro!n o%">, 85"4s !onderf%l #o! a
dog can ge" (eo(le "oge"#er no!, isn4" i"M> or 85f 5 feel 54m feeding s?%irrels "o "#e n%"s, "#is isn4" "#e
(lace for i">. T#is mo&ie, as man of #is o"#ers, again "a1es %s "#ro%g#o%" a in"rica"ed (a"# of fa1ing
and #iding from "#e "r%"#, in"ermi'ed !i"# a lo&e s"or. 5ronicall, "#e main "#eme on "#is mo&ie is
a*o%" one4s (lace in "#e !orld. Per#a(s, "#a"4s !#a" )%*i"sc# 1e(" as1ing "o #imself "#ro%g#o%" #is
lifeM
Conclusions
.es(i"e #e #ardl !ro"e #is screen(las, one co%ld al!as no"ice "#e so called 8)%*i"sc#> "o%c#
!i"#in "#em. C#ar(, memora*le and !ise dialog%es are mi'ed !i"# an e'"remel discree"
cinema"ogra(#. $e o*&io%sl consider "#e mise en scPne as "#e mos" im(or"an" (ar" of direc"ing a
mo&ie. $is mo&ies al!as "al1ed a*o%" rela"ions#i(s, s(eciall lo&e and affairs. $is common "#emes
!ere of"en "#e (oor agains" "#e !eal"#, "#e r%nning<a!a, "#e c#ange or fa1e of iden"i", "#e male or
female role in socie", and al!as a considera"ion for e%ro(ean4s fic"ional se"<%(s.
)%*i"sc#4s mos" im(or"an" and memora*le c#arac"ers are s"rong !omen and foolis# men.
3omen in )%*i"sc#4s films are ne&er, e&er s%*missi&e *%" in some (ic"%res "#e !ill decline "#eir
(o!er for #is (eer4s considera"ion 9s%c# as in "#e film To @e or Go" "o @e;.
$is moc1er incl%ded fa1e and real e%ro(ean co%n"ries *%" (ro*a*l *eca%se of #is o!n roo"s,
#e al!as #ad s(ecial considera"ion for eas"ern co%n"ries s%c# as Poland or $%ngar. Also regarding
"#e !a #e de&elo(ed #is mise en scPne, i" !as common #o! #e !o%ld %se "#e 8off screen> diegesis,
meaning "#a" !e co%ld see se?%ences !#en c#arac"ers are loo1ing a" some"#ing or someone o%"side "#e
screen *%" !e don4" ge" "o see !#a" "#e4re loo1ing a".
5ns"ead, !e as s(ec"a"ors are "o imagine so. Also, as (ar" of #is "o%c#, #e !o%ld al!as #a&e a
frenz 1iss !#ere "#e ac"ors !o%ld *e s#o" in a medi%m<s#o" (osi"ioned in "#e middle of "#e screen. All
of "#is, *%" a*o&e all, #is elegance, made #im "#e grea" and magnificen" direc"or #e !as.
3ound Filmo,ra4hy $in blacks his +scars nominations&:
Jear Ti"le C"%dio Genre
1%25 !he #atriot #aramount 6rama
1%2% !he Lo"e #arade #aramount 7omance
1630 Paramo%n" on Parade Paramo%n" /%sical
1630 /on"e Carlo Paramo%n" /%sical
1631 T#e Cmiling )ie%"enan" Paramo%n" /%sical
1632 @ro1en )%lla* 9T#e
man 5 1illed;
Paramo%n" .rama
1632 Hne #o%r !i"# o% Paramo%n" /%sical
1632 Tro%*le in (aradise Paramo%n" Comed
1633 .esign for li&ing Paramo%n" 0omance
1637 T#e merr !ido! /G/ /%sical
1637 Angel Paramo%n" 0omance
163E @l%e*eard4s eig#" !ife Paramo%n" Comed
1636 Gino"c#1a /G/ Comed
1670 T#e C#o( aro%nd "#e
corner
/G/ Comed
1671 T#a" %ncer"ain feeling )%*i"sc#, Col )esser Comed
1672 To *e or no" "o *e 20
"#
Cen"%r Bo' 9release; Comed
1%1( Hea"en can wait 2)
th
Century Fo8 7omance
1675 A 0oal Ccandal 20
"#
Cen"%r Bo' Comed
167D Cl%n @ro!n 20
"#
Cen"%r Bo' 0omance
167E T#a" )ad in Ermine 20
"#
Cen"%r Bo' /%sical
3ources:
Herr Lubitsch Goes to Hollywood: German and American Film after 9orld 9ar .. T#om(son,
Aris"in, 200D, 5C@G+ 60535D70E6, Ams"erdam =ni&ersi" Press.
2ames $ar&e, 7omantic Comedy in Hollywod: From Lubitsch to 3tur,es
Ge! Jor1, Alfred A. Ano(f, 16E7
0andom $o%se
Cco"" Eman, 1663, Ernst Lubitsch Lau,hter in #aradise- 2o#n $o(1ins =ni&ersi" Press
Ca*ine $a1e, #assions and 6ece4tions: !he early films of Ernst Lubitsch- 1662, Prince"on
=ni&ersi" Press
0o*er" Carringer and @arr Ca**a"#, Ernst Lubitsch: A ,uide to references and resources, G.A. $all
and CH.
Pog%e, )eland A., !he Cinema of Ernst Lubitsch, 167E, A.C. @arnes and Co 5nc.
THE LUBITSCH TOUCH
3ilming"on, /ic#ael. Chica,o :ewish 3tar [Skokie, Ill] 25 Jan 2008: 7,12.
#""(+//!!!.imd*.com