Ernst Lubistch | Biography, Movie, Assessment, & Facts (2024)

American director

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Michael Barson Michael Barson is the author of more than a dozen books that examine various facets of American popular culture in the 20th century, about which he has been interviewed by National Public Radio on several...

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Article History

Ernst Lubitsch

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Born:
January 29, 1892, Berlin, Germany
Died:
November 30, 1947, Hollywood, California, U.S. (aged 55)
Notable Works:
“Bluebeard’s Eighth Wife”
“Monte Carlo”
“Ninotchka”
“One Hour with You”
“Rosita”
“That Uncertain Feeling”
“The Love Parade”
“The Smiling Lieutenant”
“To Be or Not to Be”
“Trouble in Paradise”

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Ernst Lubitsch (born January 29, 1892, Berlin, Germany—died November 30, 1947, Hollywood, California, U.S.) was a German-born American motion-picture director who was best known for sophisticated comedies of manners and romantic comedies. Lubitsch was an anomaly as an active director who also served as the head of production at a major studio, as he did briefly at Paramount. While the lion’s share of his career occurred during the silent era—when he made more than 40 German silents before moving to United States—the influence of his sound pictures far exceeds their number.

Early life and work

Lubitsch was born into a Jewish family; while some sources give his birth date as January 28, 1892, others—notably his daughter—state that he was born a day later. He worked in his father’s Berlin clothing store while acting at night. In 1911, at age 19, he joined the company of stage director Max Reinhardt. Lubitsch played minor stage roles until shortly before World War I, when he began performing in one-reel silent film comedies in the ethnically stereotyped but sympathetic role of Meyer, a well-meaning Jewish bungler. In the process, he became one of the most popular comic actors in Germany and began writing and directing the Meyer films.

By 1915 Lubitsch had begun directing feature-length comedies, and he soon left Reinhardt to devote himself to movies full-time. In 1918 he directed Die Augen der Mumie Ma (The Eyes of the Mummy), his first film with Pola Negri and Emil Jannings, both of whom he would work with regularly, as all three became audience favourites in Germany. Lubitsch’s elaborate costume dramas in the early post-World War I period were among the first German productions to be shown abroad. Some of the more notable of those films were Madame Du Barry (1919; also released as Passion), Anna Boleyn (1920; also released as Deception), Sumurun (1920; One Arabian Night), and Das Weib des Pharao (1922; The Loves of Pharaoh).

Arrival in Hollywood

In 1923 actress Mary Pickford persuaded Lubitsch to come to Hollywood to direct her in Rosita (1923), a grand-scale costume drama. He was the first important German director to emigrate to the United States, and his success attracted many others—especially later, as the rise of Adolf Hitler and Nazism drove many German (and especially Jewish German) artists into exile. During the next five years he developed a readily identifiable style that became known as the “Lubitsch Touch.” It was a combination of understatement, allusion, and graceful wit that resulted in sophisticated comedy with implied sexual overtones. Among his early American efforts were the silent comedies Forbidden Paradise (1924), The Marriage Circle (1924), Lady Windermere’s Fan (1925), Kiss Me Again (1925), and So This Is Paris (1926).

After directing Norma Shearer and Ramon Novarro in The Student Prince in Old Heidelberg (1927), Lubitsch signed a production deal with Paramount, for which his first film was The Patriot (1928), with Jannings as the mad tsar of Russia, Paul I, and with Lewis Stone as the count who intrigues against him. Eternal Love (1929), starring John Barrymore, followed.

Transition to sound

Lubitsch’s transition from silent to sound films was among the most assured of any director. His first sound effort was the inventive 1929 musical The Love Parade, in which Maurice Chevalier and Jeanette MacDonald (in her film debut) find romance in the mythical land of Sylvania. With songs composed by Victor Schertzinger, this pleasant operetta was nominated for an Academy Award as best picture, and Lubitsch was nominated for best director. In that film and Monte Carlo (1930), Lubitsch freed the camera from the soundproof box and static position used by most directors at the beginning of the sound era. Instead, he filmed sequences without dialogue and dubbed the sound in later.

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During the 1930s Paramount produced some of the motion-picture industry’s most lavish and sophisticated films. Lubitsch was arguably the studio’s most respected director. His films were considered prestige projects that were not always big successes commercially but lent the studio cachet. As a result, he was also given a free hand creatively, often produced his own films, and had the privilege of final cut. With the advent of sound, Lubitsch’s affinity for theatrical traditions became even clearer, not just in his borrowing of wit, urbanity, and elegance from the comedies of manners of Oscar Wilde, George Bernard Shaw, and Molière but also in his debt to “well-made” bourgeois farces by playwrights such Victorien Sardou, Eugène-Marin Labiche, and Georges Feydeau. In his Chevalier-MacDonald musicals, Lubitsch also was the first director to introduce songs as a natural part of the plot.

One Lubitsch film that was a box-office success was The Smiling Lieutenant (1931). Nominated for an Academy Award as best picture, this musical, set in 19th-century Vienna, starred Chevalier, Claudette Colbert, and Miriam Hopkins. Among the contributors to the screenplay was Samson Raphaelson, who would collaborate frequently with Lubitsch throughout the director’s career. Lubitsch’s follow-up to The Smiling Lieutenant, the sombre antiwar drama Broken Lullaby (1932; also released as The Man I Killed), with Lionel Barrymore, was praised for its brilliant camera work, but with his next effort the director returned to his tried-and-true operetta format, reuniting Chevalier and MacDonald in One Hour with You (1932). Thereafter he would never stray from the staple of his success—romantic comedies. A remake of The Marriage Circle, the effervescent One Hour with You was originally to be directed by George Cukor, who was unceremoniously shunted aside when Lubitsch, the film’s producer, could not keep his hands off the camera. Before long, Lubitsch was directing. When he assigned himself sole credit, Cukor contested the action in arbitration. Ultimately, Cukor waived his claim in exchange for being freed from his Paramount contract.

Lubitsch’s next project, Trouble in Paradise (1932), is considered by many to be his masterpiece. Hopkins and Herbert Marshall played romantically involved French jewel thieves who gain employment with a wealthy woman (Kay Francis) so that they can bilk her out of her fortune. As in many of Lubitsch’s films, a love triangle develops, complications multiply with breathtaking invention, and an undercurrent of sexual naughtiness is conveyed through suggestion and clever association.

Lubitsch was one of the seven credited directors who handled segments of the 1932 film If I Had a Million before turning his attention to Design for Living (1933), another sophisticated masterpiece with an erotic tinge. A somewhat expurgated version of Noël Coward’s play of the same name, it starred Gary Cooper and Fredric March as an artist and a playwright, respectively, who live in Paris in a ménage à trois with a fellow American expatriate (Hopkins). She disturbs their unusual arrangement by marrying a square businessman (Edward Everett Horton) but returns when she realizes what she gave up. The Merry Widow (1934) brought Chevalier and MacDonald together again under the auspices of producer Irving Thalberg and Metro-Goldwyn-Mayer (MGM) in a sparkling version of the Franz Lehár operetta, with new lyrics by Richard Rodgers and Lorenz Hart, among others.

Ernst Lubistch | Biography, Movie, Assessment, & Facts (2024)

FAQs

Ernst Lubistch | Biography, Movie, Assessment, & Facts? ›

Lubitsch was arguably the studio's most respected director. His films were considered prestige projects that were not always big successes commercially but lent the studio cachet. As a result, he was also given a free hand creatively, often produced his own films, and had the privilege of final cut.

What is the directing style of Ernst Lubitsch? ›

The Style of Ernst Lubitsch

Ernst Lubitsch's cinema finds its full expression with sound cinema in which the director can devote himself to what he does best: dialogues. Lubitsch's dialogues are bright, intelligent, full of humor and erotic allusions.

What is the Ernst Lubitsch touch? ›

"The Lubitsch Touch" is a brief description that embraces a long list of virtues: sophistication, style, subtlety, wit, charm, elegance, suavity, polished nonchalance and audacious sexual nuance."

Why is Ernst Lubitsch important? ›

Lubitsch was arguably the studio's most respected director. His films were considered prestige projects that were not always big successes commercially but lent the studio cachet. As a result, he was also given a free hand creatively, often produced his own films, and had the privilege of final cut.

Who was the leader of direct cinema? ›

In the U.S., it was called Direct Cinema, a movement led by Richard Leaco*ck, D.A. Pennebaker, and Albert and David Maysles.

What is the movie A Hands Touch about? ›

Who is where hands touch based on? ›

Where Hands Touch tells a fictional story of a mixed-race teenage girl's relationship with a Hitler Youth member, but it is based on historical record of the persecution of black people in Nazi Germany. It took Asante 12 years to take the project to the big screen.

What was the remake of Shop around the Corner? ›

Remakes. The film spawned a musical remake, In the Good Old Summertime (1949), which stars Judy Garland and Van Johnson. The 1963 Broadway musical She Loves Me was also inspired by the play and the film.

What is the auteur directing style? ›

auteur theory, theory of filmmaking in which the director is viewed as the major creative force in a motion picture. Arising in France in the late 1940s, the auteur theory—as it was dubbed by the American film critic Andrew Sarris—was an outgrowth of the cinematic theories of André Bazin and Alexandre Astruc.

What is the directing and writing style of Greta Gerwig? ›

Realistic and overlapping dialogue

She writes her scripts to mimic the rhythm and dialogue of natural conversation. Additionally, because Gerwig wants the dialogue to sound realistic, the characters will often talk over each other. This is particularly noticeable in “l*ttle Women.”

What is Orson Welles directing style? ›

As a filmmaker, Welles introduced many innovative techniques in cinematic narrative such as layered narrative, deep-focus photography, and the use of sound as a transition device. His baroque style tended to create a cinematic universe in which every human action had severe and usually tragic repercussions.

What was Billy Wilder's directing style? ›

Wilder's reserved approach to camera movement gives the film a great deal of energy and momentum, albeit in a counterintuitive way– whereas many directors like to show off their stylistic flair by enlisting virtuoso camera movement, Wilder simply matches the motion of his camera with the motion of his subjects.

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