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Lubitsch Touch
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Displaying 1 - 3 of 3 reviews
December 28, 2012
A comprehensive and definitive study of the movies of Ernst Lubitsch, really the only resource a fan would need. The author offers detailed analysis of Lubitsch's complete works, along with profiles of his key collaborators. This is not a biography, though: anyone looking to learn about his life should look elsewhere.
Much of the book revolves around the definition of the "Lubitsch Touch", and how Lubitsch's style developed over the years. As a matter of technique, the Lubitsch Touch meant going from the general to the particular, suddenly condensing into one swift, deft moment the crystallization of a scene or even the entire theme. A perfect example occurs when Maurice Chevalier in The Smiling Lieutenant tries to amuse the prim princess by playing checkers, and, being bored by it as she is, suddenly throws the checkerboard on the bed--to continue "playing" there. The Lubitsch Touch was a kind of innuendo, wherein the most risque scenes were handled with such aplomb that the censors were kept perpetually at bay.
The tough thing about reading the book, though, is that almost all of Lubitsch's movies are nearly impossible to find. Ninotchka, Shop Around the Corner, and To Be or Not to Be turn up fairly frequently on Turner Classics, but other films are harder to find. Criterion has a wonderful collection of four of his musicals, and there are a few collections of his silent films. Turner Classic Movies showcased Lubitsch's films in December of 2012, and one can only hope that they will do so soon again.
Much of the book revolves around the definition of the "Lubitsch Touch", and how Lubitsch's style developed over the years. As a matter of technique, the Lubitsch Touch meant going from the general to the particular, suddenly condensing into one swift, deft moment the crystallization of a scene or even the entire theme. A perfect example occurs when Maurice Chevalier in The Smiling Lieutenant tries to amuse the prim princess by playing checkers, and, being bored by it as she is, suddenly throws the checkerboard on the bed--to continue "playing" there. The Lubitsch Touch was a kind of innuendo, wherein the most risque scenes were handled with such aplomb that the censors were kept perpetually at bay.
The tough thing about reading the book, though, is that almost all of Lubitsch's movies are nearly impossible to find. Ninotchka, Shop Around the Corner, and To Be or Not to Be turn up fairly frequently on Turner Classics, but other films are harder to find. Criterion has a wonderful collection of four of his musicals, and there are a few collections of his silent films. Turner Classic Movies showcased Lubitsch's films in December of 2012, and one can only hope that they will do so soon again.
October 13, 2026
This little paperback represents most of what was wrong with film history at the time of its printing. Subtitled “A Critical Study,” the only thing it is critical of is anyone who didn’t regard Ernst Lubitsch as the finest, most brilliant master of cinema ever to walk the Earth. Grounded in a progressive viewpoint, it insists that each of his films was better than the last one, although to judge from the Filmography at the end, the author had limited access to his early work. At some point (about 170 pages), the author ran out of superlatives he could drape around Lubitsch and so devoted the second portion of the book to other people reminiscing, or to glowing reviews printed contemporary with releases.
I picked up the book at a library resale, in part because I’ve never really understood why Lubitsch is said to have a “touch,” unlike other directors, who just have an “eye” or a “vision.” I still don’t know – but from Weinberg I’d guess that it’s because it sounds more fancy that way. I still like some of Lubitsch’s films (especially “I Möchte Kein Mann Sein” and “So This Is Paris”), but this book has gone a long way toward making me want not to.
I picked up the book at a library resale, in part because I’ve never really understood why Lubitsch is said to have a “touch,” unlike other directors, who just have an “eye” or a “vision.” I still don’t know – but from Weinberg I’d guess that it’s because it sounds more fancy that way. I still like some of Lubitsch’s films (especially “I Möchte Kein Mann Sein” and “So This Is Paris”), but this book has gone a long way toward making me want not to.
December 15, 2024
"How do ve make it good! How do ve make it different and good!"
How indeed, Lub-Lub...
So affectionately written it would make me smile every other page. It does seem that Weinberg loses a bit of steam post Trouble In Paradise and the more modern reappraisal of 2RN2B and SATC and D4L is nowhere in here. However, as portraits of directors go, No Notes!
How indeed, Lub-Lub...
So affectionately written it would make me smile every other page. It does seem that Weinberg loses a bit of steam post Trouble In Paradise and the more modern reappraisal of 2RN2B and SATC and D4L is nowhere in here. However, as portraits of directors go, No Notes!
Displaying 1 - 3 of 3 reviews