The immortal Ernst Lubitsch, born 126 years ago today, is one of the few true giants of cinema. Peter Bogdanovich once described Lubitsch’s classic The Shop Around the Corner thusly: “an absolute masterpiece of wit, humanity understood and defined. Each character is vividly brought to life with compassion and love; it makes you laugh, and it can make you cry.” In our view, the same could be said of virtually all of Lubitsch’s pictures.
Here are 10 things you should know about Ernst Lubitsch…
The great—and we do mean great—Ernst Lubitsch was born 125 years ago today in Berlin, Germany. He would go on to direct some of the greatest comedies in cinema history. Here are 10 EL Did-You-Knows:
Lubitsch’s parents were Ashkenazi Jews; his father was a tailor who hoped that his son would follow in his footsteps, but Ernst was interested in the theatre.
Lubitsch began his career as an actor, making his film debut in 1913 in The Ideal Wife. He directed his first picture in 1914. He would go on to act in approximately thirty films before making the switch to directing fulltime in 1920.
In 1922, Lubitsch was hired as a director by Mary Pickford and came to Hollywood. He and Pickford didn’t get along while they made their first and only picture, Rosita, together, but he was quickly offered a six-picture deal by Warner Brothers that gave him his choice of cast and crew and final edit privileges.
Lubitsch’s reputation for creating sophisticated comedies began in the silent era, but it was with the rise of talking pictures that he really found his stride. Many of his early sound pictures—The Love Parade (1929), Monte Carlo (1930) and The Smiling Lieutenant (1931) among them—were musicals that certainly featured elements of the stylish comedic work he would come to be associated with, but it was with his 1932 masterpiece, Trouble in Paradise (1932), that he made his first big splash in the genre of romantic comedy. He would make no more dramas after Broken Lullaby (1932).
After several years with Paramount Pictures, Lubitsch was named the studio’s production manager, making him the first director to run a major studio.
In 1939, Lubitsch moved to MGM, where he directed Ninotchka. Though he was longtime friends with the picture’s star, Greta Garbo, Ninotchka was the first and last time the pair would work together.
Billy Wilder cited Lubitsch as his favorite director. He is said to have had a sign over the door in his office that read, “How Would Lubitsch Do It?”
Lubitsch’s unique blend of wit and sophistication came to be known in Hollywood and around the world as “the Lubitsch Touch,” a label which critic Michael Wilmington ably described: “At once elegant and ribald, sophisticated and earthy, urbane and bemused, frivolous yet profound. [Lubitsch’s pictures] were directed by a man who was amused by sex rather than frightened of it—and who taught a whole culture to be amused by it as well.” We couldn’t agree more.
In 1946, Ernst Lubitsch received an honorary Academy Award for his distinguished contributions to the art of the motion picture. He died of a heart attack the next year.
Happy birthday, Ernst Lubitsch, wherever you may be!
If you think you’ve seen every classic Christmas picture (and most of them one too many times, at that), you’ll be pleasantly surprised, we hope, to learn of one that’s flown under the radar of many a classic movie buff.
Remember the Night features Fred MacMurray as an ambitious assistant D.A. in NYC who finds himself with shoplifter Barbara Stanwyck on his hands because he has asked for a delay in her trial, so as to avoid the jury feeling any holiday-inspired sympathy for her.
It soon comes out that both the D.A. and the dame are Hoosiers, so she accompanies him on a road trip to visit their respective families. Stanwyck’s brief visit with her mother doesn’t go so well, though, so she sticks with MacMurray, whereupon romance and laughs ensue.
Remember the Night is plenty sentimental enough to qualify as a holiday classic, but like It’s a Wonderful Life, it’s got a dark side, too, delivered with gimlet-eyed bite.
It’s a favorite of ours, a picture that deserves much greater fame and acclaim that it has been afforded. Turner Classic Movies has teamed with Universal to offer it on DVD, but if you’d like to try before you buy, it’s airing on TCM tonight (Dec. 18, 2015) at 11:30 p.m. eastern. Set your DVR now and give it a look; you won’t regret it.
This post was first published on December 6, 2013.
We don’t know how we let it sneak by us, but Monday, July 5, was the 100th birthday of the wonderful Gloria Stuart, best known now for her work in James Cameron‘s Titanic, but a woman who’s led a remarkable life and was a pretty big movie star in the 1930s, to boot.
In 1999, when she was just a kid of 89, we got to interview Gloria on the occasion of the publication of her memoir, I Just Kept Hoping. The interview was conducted over the telephone, though we did get the chance to meet Ms. Stuart when she came to NYC for her book party.
So, to mark her centennial (a few days late, alas), we thought we’d share with the Cladrite Radio Clan the interview we did with her in 1999. Enjoy!
It’s been a long, eventful life for former and current movie star Gloria Stuart. She had her first go-around at stardom in the Hollywood heyday of the 1930s and ’40s; then, after taking off 30 years or so to pursue painting, travel, and political activism, she again began to act in the 1970s, eventually garnering a Best Supporting Actress nomination for her role in Titanic. Still going strong today at the age of 89, Stuart has now added authorship to her list of achievements. Her candid memoir, I Just Kept Hoping, is peppered with anecdotes about such memorable figures as Shirley Temple, Groucho Marx, Dorothy Parker, and J. Robert Oppenheimer, the father of the atomic bomb. We spoke to Gloria about her life, her two careers in the movies, and her secrets for living so long and so well.
I’m very happy I was in those films. You know, James is a cult figure in England. There are a lot of James Whale fan clubs. Actually, right after I had read for Jim Cameron for Titanic, I had booked a month in London. I went right away, and there were two wonderful James Whale organizations that I met with. He’s getting his due now, thanks to Gods and Monsters.
What did you think of Gods and Monsters? Was it, in your view, an accurate portrayal of Whale?
Oh, yes, it was. Ian McKellan captured James’s elegance, the beautiful manners, the beautiful tailoring, the precision, the whole thing. Of course, no one could be James, but he came awfully close.
The special effects in The Invisible Man hold up remarkably well today for a film that was made in 1933.
Yes, people who see it today—it runs every so often—they say, gee, it’s not an old hat movie at all.
I’m wondering—did the processes that went into creating those special effects slow down the pace of moviemaking at all?
It was never evident. Only James and the cameraman and I guess all the process people at Universal—the rest of us never had any inkling of what was going on. We did do a lot of shooting in front of black curtains. Now, I wasn’t on the set when the bandages came off or anything like that, so I have no idea about that. But it was very, very secret. I wasn’t on the set when they were finagling the bandages off, and so forth.
That would’ve been fun to see.
Yes, it would’ve! Claude [Rains] may have known [how it all worked] but he never said so.