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Post by Salzmank on May 2, 2017 20:29:25 GMT
I'm wondering if anyone likes the great Ernst Lubitsch as much as I do... (Tied with Hawks--who is, I know, diametrically different in style and tone--Lubitsch is my favorite filmmaker.) I'll start things off in a spectacularly unoriginal fashion by posting a Top 5 list (with one more added just for good luck): 1. Trouble in Paradise2. The Shop Around the Corner3. Heaven Can Wait4. To Be or Not to Be
5. The Merry Widow (Sorry, tarathian123 !) 6. Design for Living Let me also use this space to herald Jewel Robbery ('32, dir. William Dieterle), the only Lubitsch imitation that, I feel, truly captures the Master's "touch." (Far more so than the other top Lubitsch imitation, Mamoulian's Love Me Tonight, which only captures Lubitsch's style at the most superficial level, I feel.) So, how about everyone else? Favorites? Thoughts? Criticisms? Rants? Miscellanea? (I'm open to all of it.) |
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Post by OldAussie on May 2, 2017 22:27:10 GMT
A supposedly true story.
Billy Wilder and a friend were leaving Lubitsch's funeral.
"Well Billy, no more Lubitsch." said the friend.
"Even worse." replied Billy. "No more Lubitsch pictures."
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Post by Salzmank on May 2, 2017 22:29:26 GMT
A supposedly true story. Billy Wilder and a friend were leaving Lubitsch's funeral. "Well Billy, no more Lubitsch." said the friend. "Even worse." replied Billy. "No more Lubitsch pictures." And one of my favorite movie-related stories, too, which pretty much sums up the way I feel about Lubitsch as well. With that said, I always heard it was Wilder and William Wyler and that Wyler said the "No more Lubitsch pictures" line. But, heck, who cares, the sentiment's the same! Wonderful story. |
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Post by OldAussie on May 2, 2017 22:31:56 GMT
You may well be right!
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Post by Salzmank on May 2, 2017 22:33:15 GMT
Have any favorite Lubitsch pictures yourself, OldAussie? |
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Post by OldAussie on May 2, 2017 22:54:47 GMT
I've only seen 3 or 4 but Ninotchka would be my favourite.
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Post by Salzmank on May 2, 2017 22:58:49 GMT
Got it, OldAussie! For some odd reason, Ninotchka has never clicked for me. Love the idea, some of the jokes are delightful, and it's clearly Lubitsch behind the camera, but... I don't know. The pacing just feels off and the directorial hand less secure, compared to his other works. I may actually prefer Mamoulian's musical remake, Silk Stockings. ("What? Blasphemy!") (Perhaps it's just the charm of the players. As I wrote on the "Recasting the Classics" thread, Ninotchka might have worked better for me if it were William Powell, rather than Melvyn Douglas, playing Leon.) |
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Post by manfromplanetx on May 3, 2017 0:17:43 GMT
Let me also use this space to herald Jewel Robbery ('32, dir. William Dieterle), the only Lubitsch imitation that, I feel, truly captures the Master's "touch." (Far more so than the other top Lubitsch imitation, Mamoulian's Love Me Tonight, which only captures Lubitsch's style at the most superficial level, I feel.) So, how about everyone else? Favorites? Thoughts? Criticisms? Rants? Miscellanea? (I'm open to all of it.) I think stands on it's own and is no imitation, the film was actually released a few months before T.I.P and followed on from another favourite romantic comedy of mine Man Wanted released earlier in 1932 also with Kay Francis. Director William Dieterle was a great director in his own right, he was a stylish and meticulous craftsman. Trouble In Paradise and Design For Living are among my favourite films of the 30's. The excellent casts and writers add a truly wonderful dimension to these two films. I love to re-watch these films often, for that Francis, Hopkins, Marshall and Hecht, touch. and of course all under the umbrella of the talented directorial touch of Lubitsch |
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Post by Doghouse6 on May 3, 2017 0:23:39 GMT
I'd like to see some of his early sound and silent films, especially those with Jeanette MacDonald. The Student Prince of Heidelberg (1927) also really interests me, but I doubt I'll ever see it. turns up occasionally on TCM, and it's both charming and bittersweet, providing an especially good showcase for Ramon Novarro, whom I consider to be insufficiently remembered and revered for his contributions to the art of silent screen acting (a short-lived and, when you think about it, peculiar and specialized form of performance). Most probably remember him, if at all, chiefly from Ben-Hur: A Tale Of the Christ, but TSPIOH is among the films that allow him to demonstrate the range of subtlety and nuance of which he was so capable, and is evident from his very first moments onscreen. Worth keeping an eye out for and catching if you can. And for comparison, his scheming Rupert in the 1922 The Prisoner Of Zenda provides a startling display of his versatility as well. |
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Post by Salzmank on May 3, 2017 0:25:15 GMT
Let me also use this space to herald Jewel Robbery ('32, dir. William Dieterle), the only Lubitsch imitation that, I feel, truly captures the Master's "touch." (Far more so than the other top Lubitsch imitation, Mamoulian's Love Me Tonight, which only captures Lubitsch's style at the most superficial level, I feel.) So, how about everyone else? Favorites? Thoughts? Criticisms? Rants? Miscellanea? (I'm open to all of it.) I think stands on it's own and is no imitation, the film was actually released a few months before T.I.P and followed on from another favourite romantic comedy of mine Man Wanted released earlier in 1932 also with Kay Francis. Director William Dieterle was a great director in his own right, he was a stylish and meticulous craftsman. Trouble In Paradise and Design For Living are among my favourite films of the 30's. The excellent casts and writers add a truly wonderful dimension to these two films. I love to re-watch these films often, for that Francis, Hopkins, Marshall and Hecht, touch. and off course all under the umbrella of the talented directorial touch of Lubitsch First, thanks for the comments on Trouble in Paradise and Design for Living! Completely agree. I agree that Jewel Robbery is no imitation of Trouble in Paradise, but I must insist that it's utterly reliant on Lubitsch's style, tone, and "world" (what Scott Eyman called "Lubitschland"), as is Love Me Tonight (a "Lubitsch imitation," then, in each case, rather than a " TiP imitation"). I haven't seen Man Wanted, but isn't Kay Francis a delight? One of my favorite actresses of the '30s, by far. And William Powell is great in Jewel Robbery, which makes it all the more unfortunate that he was never in a picture for Lubitsch. (He would have been grand in Ninotchka.) William Dieterle was a fine craftsman, I agree, and I've championed his works elsewhere. An interesting talent, one somewhat neglected by film critics and historians. |
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Post by Salzmank on May 3, 2017 0:35:04 GMT
My favorites in order are The Shop Around the Corner, Ninotchka, To Be or Not to Be, Heaven Can Wait, The Merry Widow, The Smiling Lieutenant, and Cluny Brown. I'm not a fan of Design for Living or Trouble in Paradise, I think only because I'm not really a fan of Miriam Hopkins, who's the main female star in those, unlike The Smiling Lieutenant in which Claudette Colbert is the main star opposite Maurice Chevalier - boy, he sure had a long working relationship with Chevalier. I'd like to see some of his early sound and silent films, especially those with Jeanette MacDonald. The Student Prince of Heidelberg (1927) also really interests me, but I doubt I'll ever see it. Lubitsch did, indeed, have that "touch," one that was unique and undeniably enjoyable. Thanks for your comments, Spider! As appreciated as always. I'm not the greatest fan of Miriam Hopkins (I'm far fonder of her co-star in Paradise, Kay Francis), but I think she does a fine job in both pictures. I too would like to see his silents. An interesting lesson in all things Lubitsch! As for Chevalier--and Jeanette McDonald, who costarred together in so many Lubitsch pictures--I find it interesting that Mamoulian, at the same studio, with these two great actors, with some of the same writers and some of the same crew, still couldn't make the magic work in Love Me Tonight as it had in Lubitsch's pictures. That, I think, is the greatest testament to the "Lubitsch touch." (On the other hand, lots of folks really like Love Me Tonight, so what do I know?  ) |
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Post by Deleted on May 3, 2017 2:22:19 GMT
Let me also use this space to herald Jewel Robbery ('32, dir. William Dieterle), the only Lubitsch imitation that, I feel, truly captures the Master's "touch." (Far more so than the other top Lubitsch imitation, Mamoulian's Love Me Tonight, which only captures Lubitsch's style at the most superficial level, I feel.) So, how about everyone else? Favorites? Thoughts? Criticisms? Rants? Miscellanea? (I'm open to all of it.) another favourite romantic comedy of mine Man Wanted released earlier in 1932 also with Kay Francis. I have been looking for another Kay Francis picture to watch after falling in love with 'Trouble in Paradise' all over again after seeing it from years ago, glad I popped over-here. Like I briefly mentioned to Salzmank on another thread- I have been told that you should seriously look at his silent movies to see how revolutionary he was and influential, it will have to wait until the fall until I have the time to dig into his silent films but 'Trouble in Paradise' 1932 starring Miriam Hopkins, Kay Francis, and Herbert Marshall, this is a perfect summation of everything he tried to bring to films, this movie is just pure delight and wonderful escapism, filled with wit, sophistication, and fantastic set designs and style. What great cinema is really all about. Is there another film from 1932 that is this polished? and finished looking? Ernst Lubitsch was ahead of his time and it shows. Must of made the other directors turn their collective heads a bit and nod in appreciation (this is 1932). One that I am proud to own, Ninotchka is a movie that probably took three viewings till I finally came around to it, probably because the dialogue is a bit dated but then I view the picture in it's proper time and setting? To Be or Not to Be, one of the few Jack Benny films that have been gifted to us, but I will listen or watch almost anything with Jack Benny- so? you can't believe everything a Jack Benny worshiper tells you-LOL The Shop Around the Corner, my James Stewart movies split LOVE/HATE and this is definitely in the Love column, I am usually down on 40's comedies but this is at the top. credit- the master of style and charm-Ernst Lubitsch. Design for Living, is something that I will make a point of seeing here also- thanks! |
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Post by Salzmank on May 3, 2017 2:51:42 GMT
Great thoughts, @eriknight. I agree with nearly everything (except your comments about Jimmy Stewart, but then he's my favorite actor! ). Kay Francis is without a doubt one of my favorite actresses of the '30s, as I also told manfromplanetx. I'm quite taken with her, to be honest (both by her looks and her acting!). If you haven't seen it, Morpheus, I highly recommend Jewel Robbery, with her and Bill Powell. Delightful little picture. I still haven't come around to Ninotchka, unfortunately. Just seems cold to me, so strange because Lubitsch was one of the tonally warmest directors I know. Sigh. Maybe one day... |
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Post by Deleted on May 3, 2017 3:13:21 GMT
Great thoughts, @eriknight . I agree with nearly everything (except your comments about Jimmy Stewart, but then he's my favorite actor! ). Kay Francis is without a doubt one of my favorite actresses of the '30s, as I also told manfromplanetx . I'm quite taken with her, to be honest (both by her looks and her acting!). If you haven't seen it, Morpheus, I highly recommend Jewel Robbery, with her and Bill Powell. Delightful little picture. I still haven't come around to Ninotchka, unfortunately. Just seems cold to me, so strange because Lubitsch was one of the tonally warmest directors I know. Sigh. Maybe one day... Jimmy Stewart has always had that effect on me, but I can understand why you appreciate him, I think it is because of his Jimmy Stewartness- sometimes his seems out of character for the role? just one of those things- mainly in the drama's, really do enjoy almost all the comedies and especially the westerns. Kay Francis, drool your not alone on this one-LOL I am going to make it a point to watch both those films in the very near future. Of course Ninotchka has to be viewed as a satire, aiming sophisticated darts like this at the Communists while sparkling, hard to do this without preaching but Ernst Lubitsch is a master at it. That is why it took awhile for me to get this film. I appreciate it on this level. Buljanoff: How are things in Moscow? Ninotchka: Very good. The last mass trials were a great success. There are going to be fewer but better Russians. Iranoff: Can you imagine what the beds would be in a hotel like that? Kopalski: They tell me when you ring once the valet comes in; when you ring twice you get the waiter; and do you know what happens when you ring three times? A maid comes in — a French maid Iranoff (with a gleam in his eye): Comrades, if we ring nine times . . . Ninotchka: I am interested only in the shortest distance between these two points. Must you flirt? Leon: I don’t have to but I find it natural. Ninotchka: Suppress it. Leon: I’ll try. |
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Post by Salzmank on May 3, 2017 3:26:05 GMT
No, absolutely, I understand the jokes, @morpheus , and I do find them funny. My problem is with everything in between the jokes. I just find it weaker than everything else Lubitsch did--but, yeah, I know mine is a minority opinion! It's OK. As for the lovely Miss Francis... You gotta watch Jewel Robbery, then, Morpheus. You'll appreciate it! Again, great comments. I love reading everyone's thoughts on these movies. |
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Post by teleadm on May 4, 2017 17:33:38 GMT
It sounds like it's time for me to rekindle with the world of Lubitsch, since it's been a while i've seen any of them. Though I own both To Be or Not to Be and Heaven Can Wait on DVD. Sounds like a good Sunday matinée double-feature idea for me.
Sundays are my computer free day, not for any religious reasons, it's for letting my arthritis fingers rest.
Besides beeing such a wonderful movie, Heaven Can Wait have such wonderfull Technicolor and art design and decoration, especially in the Hell (?) scenes.
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Post by Salzmank on May 4, 2017 19:07:01 GMT
It sounds like it's time for me to rekindle with the world of Lubitsch, since it's been a while i've seen any of them. Though I own both To Be or Not to Be and Heaven Can Wait on DVD. Sounds like a good Sunday matinée double-feature idea for me. Sundays are my computer free day, not for any religious reasons, it's for letting my arthritis fingers rest. Besides beeing such a wonderful movie, Heaven Can Wait have such wonderfull Technicolor and art design and decoration, especially in the Hell (?) scenes. I completely agree, Teleadm, and I am of the opinion that it's never a bad time to rekindle with the world of Lubitsch, but that's just me... I've seen To Be or Not to Be criticized because it's not exactly as subtle or charming as Lubitsch's other pictures--it's the least Lubitschean, to coin a word. Be that as it may, I think that, below the surface, it has all of Lubitsch's main themes and meanings, especially the emphasis on manners and appearances. It was my first experience with Lubitsch, so I have an obvious soft spot for it. (It's also 100 times funnier, not to mention more emotionally moving, than Mel Brooks's remake, let me say!) Heaven Can Wait is, yes, beautifully designed and decorated (I too love the Technicolor Hell scenes, with Laird Cregar as the Devil!), and the characters are superb. It too is another favorite, but then I'm fond of just about everything Lubitsch ever did, as you can probably guess. |
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Post by teleadm on May 4, 2017 19:26:25 GMT
I completely agree, Teleadm, and I am of the opinion that it's never a bad time to rekindle with the world of Lubitsch, but that's just me... I've seen To Be or Not to Be criticized because it's not exactly as subtle or charming as Lubitsch's other pictures--it's the least Lubitschean, to coin a word. Be that as it may, I think that, below the surface, it has all of Lubitsch's main themes and meanings, especially the emphasis on manners and appearances. It was my first experience with Lubitsch, so I have an obvious soft spot for it. (It's also 100 times funnier, not to mention more emotionally moving, than Mel Brooks's remake, let me say!) Heaven Can Wait is, yes, beautifully designed and decorated (I too love the Technicolor Hell scenes, with Laird Cregar as the Devil!), and the characters are superb. It too is another favorite, but then I'm fond of just about everything Lubitsch ever did, as you can probably guess. might have been done in anger. I see nobody has mentioned Cluny Brown and That Lady in Ermine, I wonder why. I've hear that Ermine was a bad choice to make even before shooting begun, and all blame shouldn't fall on Otto Preminger. |
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Post by Salzmank on May 4, 2017 19:29:22 GMT
I completely agree, Teleadm, and I am of the opinion that it's never a bad time to rekindle with the world of Lubitsch, but that's just me... I've seen To Be or Not to Be criticized because it's not exactly as subtle or charming as Lubitsch's other pictures--it's the least Lubitschean, to coin a word. Be that as it may, I think that, below the surface, it has all of Lubitsch's main themes and meanings, especially the emphasis on manners and appearances. It was my first experience with Lubitsch, so I have an obvious soft spot for it. (It's also 100 times funnier, not to mention more emotionally moving, than Mel Brooks's remake, let me say!) Heaven Can Wait is, yes, beautifully designed and decorated (I too love the Technicolor Hell scenes, with Laird Cregar as the Devil!), and the characters are superb. It too is another favorite, but then I'm fond of just about everything Lubitsch ever did, as you can probably guess. I see nobody has mentioned Cluny Brown and That Lady in Ermine, I wonder why. I've hear that Ermine was a bad choice to make even before shooting begun, and all blame shouldn't fall on Otto Preminger. Against the Nazis? Probably so. As for Cluny Brown and Lady in Ermine, it's been too long, so I'll have to watch them again and get back to you. I know that several critics I admire really like Cluny, though... |
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Post by teleadm on May 5, 2017 16:00:31 GMT
To Be or Not to Be might have been done in anger.I see nobody has mentioned Cluny Brown and That Lady in Ermine, I wonder why. I've hear that Ermine was a bad choice to make even before shooting begun, and all blame shouldn't fall on Otto Preminger. Against the Nazis? Probably so. As for Cluny Brown and Lady in Ermine, it's been too long, so I'll have to watch them again and get back to you. I know that several critics I admire really like Cluny, though... Well I couldn't wait, I actually did see it after my last post here yesterday ( To Be or Not To Be that is) and I can see the points others have made that Lubitsch seldom did movies grabbed from the headlines or the current world situations at the time it was made. The only other movie from Lubitsch's output that differs from the rest is his the anti-war Broken Lullaby from 1932 (mentioned today in my local newspaper as an inspiration to frenchman Francois Ozons Frantz), that I know of. Unlike many other Germans Lubitsch came to USA under much happier circumstances than having to flee his old country. Well more about To Be or Not To Be, many movie was as USA was neutral not any movies was allowed to show nazis as bad persons, just different in oppinions, The Hays Office of decency in movies (or censor) had lent his ear to a german diplomat, so nazi germans was seldom allowed to be showed as enemies, just different in opinion. When the Head of office was shot dead from Warner Brothers German office, Jack Warner said "Enough is Enough" (or whatever they said in those days) and made the anti Nazi Confessions of a Nazi Spy 1939 it more or less opened the gates for anti-nazi movies. To Be or Not To Be also had a troublesome history in my own country Sweden, it was banned from public showing from the start, as we didn't wanted to mess with out Baltic sea Nieghbour, as long as they didn't invade us, it wasn't allowed to be showned in public until the tides had turned in autumn 1944. Back to the movie itself, it begins as a light comedy, then after the invasion of Poland it has a serious stretch, a part that is neccesary to make the story continue, The rest wouldn't have worked if the serious part wasn't there. Jack Benny and Carole Lombard are just wonderful, but all little roles makes this movie too, Robert Stack as the the pretty boy, Felix Bressart (who fled Germany himself),Lionel Atwill as the "ham" actor (one of the few roles he got in A-pictures after a naked party scandal that destroyed is career), Sig Ruman as the real concentation camp Ehrhardt (overplaying yes, but funny as hell, a perfect foil to Marx Brothers, and he has a funny and touching role in The Song of Benadette), Stanley Ridges as the real Professor Siletsky (Mrs Tura says when reading his autograph says that she hopes the big letter Y that Silesky writes it will be as big as it's written, since this is family friendly I won't get into what that could be, but apparentlt Hays Office had no clue), and poor poor Schultz who is actually the only one who actually sees what's going on, while Ehrhardt only thinks of his career. Ive moved this up from 8 to 9 out of 10 at the old IMDB. |
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