Motion Picture Classic (Jul-Dec 1928)

The Troubadour ^^ Silent oong ^ <Although working with iModern Mechanisms Ernst Lubitsch is a Mediceval J\iinstrel BY HERBERT CRUIKSHANK ERNST LUBITSCH without a ci^ar would belike Napoleon without a "weskit" into which to bury his hand. The Lubitsch cigar is one of the props. It may soon lose its shapely form, the fine fire of its flame, the fragrance of its aroma, and become as stubby as Jim Tully, dead as a movie magnate's sense of humor, and smell worse than a rotten deed in Denmark. But it leaves Lubitsch nevermore. It may be clenched between the table-tapping fingers, helping to accentuate or stress a statement. It may find lodging in the far corner of the quicksmiling mouth. But any sniper who follows Lubitsch to seize a succulent puff from a discarded butt must hit a long, long trail. A quiet little brown man, unassuming as a mouse — the great director always reminds me of just that. Gentle in manner, brilliant of eye, he gnaws steadily through the cinema cheese to its very heart, and, to mix a metaphor, brings home the bacon. He is of medium height, and slender, despite a certain impression of slight rotundity which you may carry away. He is rather swart, with a mop of black hair which has a tendency to fall in a curve over a low, broad forehead. His most engaging features are his eyes. In thought they are deep and slumberous. But in anticipation of a laugh at his own joke or another's, they gleam and glisten witn appreciation and good humor. He can laugh heartily with them without moving a muscle of his face. When he came to us from Germany at the cabled behest of Mary Pickford, he had not the slightest knowledge of English. Now he comprehends and is comprehensible. But the pleasing "z" sound that takes the place of our "th" still slips from his tongue. He can be a voluble talker, but a fine sense of courtesy curbs his flow of words for fear he may monopolize — or for fear he may be lured into some statement which he does not wish to make. A Giant Half Grown BEHIND him lies a long record of accomplishment. Before him is an expansive vista of triumphs sure of attainment — but yet to be attained. He has not reached his full artistic stature. He has grown slowly to his present Lf Rowley eminence. And perhaps but now is approaching the full flower of his innate ability. If pressed, he will modestly select "Passion," "The Marriage Circle" and "The Patriot" as those three of his works which most please him. Of the three, you will agree that "The Patriot" is the finest. And that it discloses a new Lubitsch, showing splendid evidence of a "Lubitsch touch" at total variance with that which has been associated with his productions. The name of Lubitsch is one of the few directorial cognomens which means something to the picture business in actual box-oflSce dollars and cents. It may be placed at the top of the list with very few dissenting voices. And with universal acclaim among the three highest. When "The Patriot" is shown, it seems assured of a prominent position among the pictures of all time. And Lubitsch adds more palms to his cinematic croix de guerre. There are epic qualities in both subject-matter and treatment. The director has lavished the wealth of his genius without stint, and a jewel radiant in all its facets has emerged from the crucible. Not unexpectedly, he includes Negri and Jannings in his brief list of motion picture excellencies. It is fairly safe to say that he alone in all America was able to bring forth the full beauty and power of Pola's histrionic genius. And Jannings has set a new mark under Lubitsch direction. A Little Noise Enough TT is also natural that a master whose mightiest weapon I is the art of pantomime should not beam with too hearty approval on the introduction of sound into the cinema. He, however, accepts it as an inevitable development. And it is quite possible that he will be among the foremost of those who utilize this new agency to strengthen that appeal of pictures — to endow with voice the erstwhile dumb drama. But until greater perfection is attained, a {Continued on page J 6) 33