This bitter-sweet romantic comedy flopped at the box office on release, and is still largely overlooked. It led to Marlene Dietrich being labelled ‘box-office poison’ and dropped by Paramount, before going on to reinvent herself in Destry Rides Again. It also contributed to director Ernst Lubitsch getting his own marching orders from the studio. Nevertheless, I love it, and think it is definitely a film with the ‘Lubitsch touch’, full of his sophistication and sharp observation of relationships – and also with his flavour of nostalgia for a European way of life which was slipping into the past, something even more poignantly evident in later works like The Shop Around the Corner. There are several mentions of war approaching in Europe, and Dietrich’s weary diplomat husband, Herbert Marshall, plainly has good reason for staying long hours at the office, as he tries to keep the conflict a little further off. The film is available on budget-price DVD in region 2/UK, from Universal Classics, but has not been issued in region 1 as yet. I do discuss the whole plot in this review, but I don’t think the ending will come as a shock to anyone anyway. Continue reading →
I’ve been watching a lot of Lubitsch’s famous pre-Code musical comedies recently, so thought it would be interesting also to see this little-known serious anti-war drama which he made at the same period, starring Lionel Barrymore. Broken Lullaby – also known as The Man I Killed, after the title of the original stage play by French writer Maurice Rostand – was a flop at the box office, persuading Lubitsch that he had better not try anything else in the same vein. However, watching this, I found myself feeling that it is a forgotten masterpiece, just as richly multi-layered as his early comedies. It is sad to think that, while many of them are being reissued in lavish box sets, this film has only ever been released on region 2 DVD in Spain and France.
The one part of the film which is remembered (and, I understand, occasionally shown at festivals apart from the rest of the drama, as something complete in itself) is its opening. This is an example of the breathtaking cinematography by Victor Milner, which uses many techniques from silent film. Fortunately this two-minute sequence is currently available at Youtube, so I can post a link to it – it’s much better to see it than to read my description! However, I will describe it too, since it really is the heart of the film. The film begins with a title card announcing the first anniversary of the Armistice, in 1919, and there are a series of short clips cutting between the church bells ringing, memories of the fighting, the victorious French troops marching through Paris, and screaming soldiers in hospital haunted by their memories. The most striking image here is the angle chosen to show the parade, where the camera is directed through the gap where the leg of a wounded soldier used to be, with his maimed silhouette standing between the viewer and the triumphant marchers.