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IMDbPro

Je ne voudrais pas être un homme

Titre original : Ich möchte kein Mann sein
  • 1918
  • Not Rated
  • 45min
NOTE IMDb
6,8/10
1,8 k
MA NOTE
Je ne voudrais pas être un homme (1918)
ComédieRomance

Une adolescente garçon manqué, fatiguée d'être dirigée par son tuteur strict, se fait passer pour un homme afin de pouvoir s'amuser davantage, mais découvre qu'être le sexe opposé n'est pas ... Tout lireUne adolescente garçon manqué, fatiguée d'être dirigée par son tuteur strict, se fait passer pour un homme afin de pouvoir s'amuser davantage, mais découvre qu'être le sexe opposé n'est pas aussi facile qu'elle l'espérait.Une adolescente garçon manqué, fatiguée d'être dirigée par son tuteur strict, se fait passer pour un homme afin de pouvoir s'amuser davantage, mais découvre qu'être le sexe opposé n'est pas aussi facile qu'elle l'espérait.

  • Réalisation
    • Ernst Lubitsch
  • Scénario
    • Hanns Kräly
    • Ernst Lubitsch
  • Casting principal
    • Ossi Oswalda
    • Curt Goetz
    • Ferry Sikla
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,8/10
    1,8 k
    MA NOTE
    • Réalisation
      • Ernst Lubitsch
    • Scénario
      • Hanns Kräly
      • Ernst Lubitsch
    • Casting principal
      • Ossi Oswalda
      • Curt Goetz
      • Ferry Sikla
    • 21avis d'utilisateurs
    • 19avis des critiques
  • Voir les informations de production sur IMDbPro
  • Voir les informations de production sur IMDbPro
  • Photos37

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    Rôles principaux5

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    Ossi Oswalda
    Ossi Oswalda
    • Ossi
    Curt Goetz
    Curt Goetz
    • Dr. Kersten
    • (as Kurt Götz)
    Ferry Sikla
    Ferry Sikla
    • Counsellor Brockmüller
    Margarete Kupfer
    Margarete Kupfer
    • Gouvernante
    Victor Janson
    Victor Janson
    • Réalisation
      • Ernst Lubitsch
    • Scénario
      • Hanns Kräly
      • Ernst Lubitsch
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs21

    6,81.7K
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    7Philipp_Flersheim

    A good early Lubitsch, definitely worth a look

    Ossi, the teenage daughter of a wealthy Berliner, likes playing poker, smoking and drinking. Her guardian is not amused; he swears he will teach her mores. Ossi gets the chance to buy a dress coat and formal mens' clothing for herself, cross dresses and goes off on a spree: it has to be the Mäusepalast, a pleasure hall where the champaign flows. Here she meets her guardian, and things get interesting. This outing by Lubitsch and Ossi Oswalda is considerably better than 'The Oyster Princess', which I watched a while ago. It was clearly intended to help the audiences forget the war that was still raging in the summer of 1918. The film depicts a peaceful, wealthy world, with food plentiful and young men in abundance (and without war injuries), a world where pre-war life has returned, including well dressed people on the underground and motorcars and hackneys on the streets. The acting is actually good. Ossi Oswalda fits the role to perfection, and her guardian (Curt Goetz) does likewise very well. The picture has wit and tempo and is surprisingly open about homosexuality - surprisingly because I did not expect this of a film made in imperial Germany (the censors banned it for underage audiences, though). Contemporay critics were rapturous, and newspapers reported gales of laughter. I managed to stay calm while watching it, but still, it is a good film.
    6agboone7

    Oh, that Lubitsch…

    Homoeroticism, transvestitism, gender confusion, dominance and submission, borderline pedophilia — there has never been another, and certainly will never be another like Ernst Lubitsch. No one who's familiar with his films could ever be surprised to see the myriad of taboo subjects covered in "I Don't Want To Be a Man", but even I was flabbergasted a few times in this one. You won't see many 1910s films like it. In fact, you won't see many 2010s films like it. And any you do see will certainly not have Lubitsch's inimitable gift for tackling such controversial material with such a light, innocuous hand ("the Lubitsch touch", as they call it).

    Lubitsch left Germany and came to Hollywood in 1923, and the American film industry would never be the same. He brought with him his sophistication, his innuendo, and his playful mischievousness. He introduced Hollywood to sex. He pioneered the cinematic musical, making the first ever truly modern musical with "The Love Parade" in '29. His influence on American cinema is as great as anyone's since Griffith.

    Most of us know Lubitsch from either his run of musicals — "The Love Parade", "Monte Carlo", "The Smiling Lieutenant", and "One Hour With You" — or his subsequent non-musicals, "Trouble in Paradise" and "Design for Living". That lattermost film was made in 1933, the last year before the Hays Code was enforced, and therefore, the last year that Lubitsch would ever be able to be the filmmaker he was born to be. Lubitsch's gift was to make comedy out of contentious subject matter, and so for a director who thrived off of suggestion and sexual innuendo, the Hays Code was effectively the end of Lubitsch. Of course, he made some good films after that — "To Be or Not To Be" and "Heaven Can Wait" came in the early '40s, and were both quality films — but Lubitsch would never again be able to make films that genuinely reflected his true nature as a filmmaker, and his unique sensibilities as an artist.

    I think a little bit of censorship, however, was good for Lubitsch. The Hays Code obviously involved far too much of it, but even before '34 when the code really kicked in, there was still censorship. The standards were much looser, but there were standards, nonetheless. And so Lubitsch was forced to express things implicitly that he might otherwise have expressed more explicitly, to much lesser effect. The waggish innuendo that was Lubitsch's bread and butter was necessitated by the presence of censorship. Without some degree of censorship, his films would probably lack some of the qualities he's now famous for.

    "I Don't Want To Be a Man" is a good example of this. The restrictions placed on filmmakers in the late 1910s in Germany were clearly even slacker than those in Hollywood's pre-code era, and so many of these early German silents by Lubitsch are more forthright and candid in their treatment of controversial subject matter than his American films were. In a way that makes them all the more riotously entertaining, but it also deprives them of that wink-of-the-eye style of suggestive humor that was Lubitsch's greatest asset as a filmmaker.

    There's another reason these early silents by Lubitsch are interesting: They were made prior to the expressionist movement in German cinema. All of the German films I've seen from the '20s can be classified as either part of the German expressionist movement or the New Objectivity movement (an early movement in cinematic social realism). These Lubitsch films, however, from the years before expressionism catapulted German cinema to new levels of popularity, belong to neither movement. So I'm happy to see some German silents that aren't so easily categorized.

    Truly, "I Don't Want To Be a Man" transcends classification. Almost never before have I seen such a plethora of taboo subjects in one film. We've seen some of these themes in other Lubitsch films, like the homoeroticism in "Design for Living" (though it was dialed down from Coward's source material), but to see so many of them crammed together into one 45-minute film was quite a ride. However controversial the subjects may have been, though, their treatment was as innocent as can be imagined. Everything in a Lubitsch film is lighthearted by nature.

    Saying that a filmmaker was "ahead of his time" is one of the most overused statements in all of film criticism, but here I have no reservations in saying that Lubitsch's films were truly as far ahead of their time, socially, as any films I've ever seen. He was openly and merrily conveying aspects of human socio-sexual tendencies that many individuals are sadly still struggling to come to grips with today, in the year 2015, almost a century later. His films have been accused of being sexist, and watching a movie like "The Smiling Lieutenant", we can see, to a certain extent, why that has been considered. There has certainly been much debate over the nature of Lubitsch's significant role in determining the treatment of female characters in Hollywood cinema. Consequently, some of his films may be more controversial now than they were in their own time. As open-minded and liberal as he was, Lubitsch was never even remotely concerned with being politically correct, and so his body of work remains a fascinating place to study the direction that cinema has taken.

    "I Don't Want To Be a Man" is a feverish assault of controversiality and taboo-breaking fun. It's not a great film, but it's a solid film and a joy to watch, and it's unlike anything else from its time (or from any other time, really). I would think that almost anyone would find it worth its 45 minutes, and fans of Lubitsch especially will, I'm sure, be quite satisfied with it.

    RATING: 6.00 out of 10 stars
    6Steffi_P

    "I beg to differ"

    You wouldn't think there was a war on, with pictures like this being produced. But in spite of, or perhaps because of the ongoing conflict in Europe, the mid-to-late teens saw a veritable revolution in screen comedy. Notably there was Charlie Chaplin in Hollywood, but outside the states the most important figure was surely director Ernst Lubitsch. What is astonishing is that due to the war the German film industry was isolated for foreign imports, and Lubitsch's approach flourished independently without influence from abroad.

    This picture comes from a transitional point in Lubitsch's development, moving from his earliest character-based farces, which were not particularly special, to spectacular comedies where the gags were in the staging and arrangements. Essentially, Lubitsch realised that simple things can appear very funny if they are done simultaneously by lots of people. There are a couple of early examples of this here – the mass of serenading suitors, or the gaggle of love-struck tailors. These little moments are comic highpoints, but Lubitsch does not yet appear to have the confidence to spin them into a consistent style. Other than this, we have a series of gags based around Ossi Oswalda's dragged-up escapades. It's interesting to see this frank flirtation with cross-dressing and homosexuality (although not very surprising – remember this was the era of Magnus Hirschfield), but as comedy it soon gets a little tedious.

    But leaving the comedy aside for the moment, there is evidence here for Lubitsch's emergence as a real craftsman of the cinema. The young director seems to have been really fascinated by the field of depth (an aspect of cinema often forgotten in an age of widescreen), panning shots and rapid editing. Most of the movement in I Don't Want to Be a Man is either towards or away from the camera, rather than across the frame. He often has a corridor leading off somewhere at the back of the shot, giving the space more definition (an honourable mention here goes to set designer Kurt Richter, whose slightly oddball creations were perfect for Lubitsch's world), and there are some very cunning uses of these. One example is when the governess meets the disguised Ossi at the bottom of the staircase. When Ossi exits, the camera pans a little to the right, suddenly framing the governess with the depth of the room behind her and subtly realigning our focus onto her reaction.

    There is another factor that makes Lubitsch's German comedies distinctively different, and that is the presence of Ossi Oswalda herself. Although she was dubbed "the German Mary Pickford", Hollywood didn't really have anyone quite like her; a female star who could carry a comedy, and be the originator of the humour rather than just an element within a humorous film. Unfortunately for her, Lubitsch's pictures would get ever more elaborate in style, and would be less and less about the individual performances. If nothing else, I Don't Want to Be a Man shows Oswalda at her best.
    6Cineanalyst

    Masquerade Comedies

    Four of the earliest romantic comedies from Ernest Lubitsch that are available, "The Merry Jail" (1917), "The Oyster Princess", "The Doll" (both 1919) and this film, "I Don't Want to Be a Man", all base much of their humor around situations of mistaken identity. A character masquerades as someone else and absurdity and amusement ensue; in this case, our tomboy protagonist dresses and pretends to be a man for a day of drinking. Lengthy analysis could and probably has been written about the homosexual overtones of the scenes of the male lead repeatedly kissing and touching a woman he believes to be and appears to be a man.

    Lubitsch's style was already fairly polished by this time, which is especially evident in the nice 35mm transfers of these films available on home video. The up and down camera movements for seasickness stand out as the most gimmicky technique. What I especially appreciate here, however, is some good comedic visual timing with amusing title cards. For example, in one scene, an intertitle states, "The poor child will be so miserable", which is followed by a shot of the "poor child" dancing zestfully. Overall, even if these early comedies by Lubitsch aren't exceptionally funny and their humor often broad, they're short and well paced; generally, I find them more enjoyable than his ponderous, early dramatic, costume spectacles with Pola Negri.
    7l_rawjalaurence

    Excellent Comedy Vehicle That Challenges Gender Stereotypes

    This is a an excellent comedy vehicle for German silent film star Ossi Oswalda. She plays a young tomboy who, unable to leave the house at night in female attire, dresses up as a boy and has a whale of a time at a local dance. She attracts the - unwelcome - attention of a gaggle of females, flirts outrageously with one man, makes fun of others kissing, and ends up spending the evening with another young man. There are some very funny farcical routines - notably one scene where Ossi, apparently drunk, tries her best not to go into the gents restroom, moves towards the ladies, and is shooed away by some irate women. Eventually she and the young man travel home together, and end up in one another's arms kissing. Lubitsch's film offers some of the challenges to gender stereotypes that would be offered a decade and a half later in Hollywood films such as QUEEN Christina (1932). Oswalda makes a convincing man, proving beyond doubt that male courtship rituals are simple, to say the least. The action rattles along at a brisk pace, leading to a predictable conclusion, but ICH MOCHTE KEIN MANN SEIN remains highly watchable.

    Histoire

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    Le saviez-vous

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    • Anecdotes
      The film was released in the US by Kino Lorber as part of the box set "Lubitsch in Berlin" in 2007 with English intertitles. It was also released in the UK by Eureka's Masters of Cinema series as part of the box set "Lubitsch in Berlin: Fairy-Tales, Melodramas, and Sex Comedies" in 2010 with German intertitles and English subtitles.
    • Connexions
      Featured in Ernst Lubitsch in Berlin - Von der Schönhauser Allee nach Hollywood (2006)

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    FAQ11

    • How long is I Don't Want to Be a Man?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 18 novembre 1918 (Hongrie)
    • Pays d’origine
      • Allemagne
    • Langues
      • Aucun
      • Allemand
    • Aussi connu sous le nom de
      • I Don't Want to Be a Man
    • Société de production
      • Projektions-AG Union (PAGU)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Spécifications techniques

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    • Durée
      • 45min
    • Couleur
      • Black and White
    • Mixage
      • Silent
    • Rapport de forme
      • 1.33 : 1

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