Lubitsch is recognized as one of the great directors of the 30s, and yet this wonderful film is not on any of the usual critical lists of notable films. Perhaps it was too modern for its time. It is perhaps Dietrich's best English performance (though even here she could be a bit more subtle), but the real star is the director, shining in the shots he composes and performances he coaxes from his actors. Lubitsch is a master of subtlety, and when he places important moments off-screen, it is in such a way as to heighten their impact. Since the censorship code is in effect, the sexual elements are cleverly concealed. For example, Halton and Barker discover that in Paris they both visited the same... seamstress. The naive Hays Office must have thought that was the joke, but the real joke is on them for it is clear--at least today--that the two did not visit her to get their sewing done. The sophistication of the film is unusual for its time.
Pages could be written about this film. Suffice it to say that if you like 30s film at all, see this. In certain moments, it feels perfect. Probably one of the top 25 of the decade.
Pages could be written about this film. Suffice it to say that if you like 30s film at all, see this. In certain moments, it feels perfect. Probably one of the top 25 of the decade.