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Ernst Lubitsch
- Ernst Lubitsch (/ ˈluːbɪtʃ /; January 29, 1892 – November 30, 1947) was a German-born American film director, producer, writer, and actor.
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Ernst Lubitsch (/ ˈ l uː b ɪ tʃ /; January 29, 1892 – November 30, 1947) was a German-born American film director, producer, writer, and actor. His urbane comedies of manners gave him the reputation of being Hollywood's most elegant and sophisticated director; as his prestige grew, his films were promoted as having "the Lubitsch touch".
Ernst Lubitsch. Director: To Be or Not to Be. From Ernst Lubitsch's experiences in Sophien Gymnasium (high school) theater, he decided to leave school at the age of 16 and pursue a career on the stage.
- January 1, 1
- Berlin, Germany
- January 1, 1
- Hollywood, Los Angeles, California, USA
- Overview
- Early life and work
- Arrival in Hollywood
- Transition to sound
Ernst Lubitsch (born January 29, 1892, Berlin, Germany—died November 30, 1947, Hollywood, California, U.S.) 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 ...
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).
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.
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.
- Michael Barson
Aug 8, 2022 · In the summer of 1943, the playwright and screenwriter Samson Raphaelson received word that Ernst Lubitsch, the Berlin-born director of such incandescent Hollywood comedies as “Trouble in...
Ernst Lubitsch. Director: To Be or Not to Be. From Ernst Lubitsch's experiences in Sophien Gymnasium (high school) theater, he decided to leave school at the age of 16 and pursue a career on the stage.
- January 29, 1892
- November 30, 1947
Jan 30, 2018 · Ernst Lubitsch: 10 essential films. From To Be or Not to Be to The Shop around the Corner, here are 10 places to discover the legendary ‘Lubitsch touch’ of one of old Hollywood’s greatest directors.
Dec 2, 2008 · Lubitsch briefly assumed the position of director of production at Paramount in 1935, and it was for this studio that he made the features by which most people know him today: Ninotchka (1939,...
