La poupée

Such a charmer. It certainly feels like a Lubitsch film, as it pushes boundaries with sex but in a playful way, makes cheeky observations about human behavior, and has entertaining characters skating along in a light comedy. Pretty impressive, especially for 1919, and well worth 66 minutes.

Some of the bits I liked:

• Seeing Lubitsch himself as the film begins, setting up the doll house which the characters then inhabit.

• The performances from Ossi Oswalda (the daughter/doll) and Gerhard Ritterband (the young apprentice). Oswalda's facial expressions and body control as the doll are wonderful, and Ritterband imitations of his boss were amusing. I also chuckled when he kisses his boss's wife after having kissed the doll, "Just so no one feels neglected," and how he later says he's throwing himself out the window out of shame, only to slide out easily from the first story.

• The artistry in the set designs, which while not boldly Expressionistic, have quite a flair, making the film a treat visually. You also get a couple of clearly fake horses, little effects like a montage of close-ups of chattering mouths, a transparency during a dream sequence, and a man's hair turning white when he gets shocking news.

• The doll being advertised as follows: "Offered to bachelors, widowers, and misogynists! I have succeeded, with the help of a mechanism I built, in constructing a human-like doll who can walk, dance, and sing by pushing different buttons." And as an aside, the toymaker has designed it to look like his daughter, even though it's a short leap to think of it as a sex doll being peddled to lonely (and abusive?) men, how creepy is that?

• The priests chowing down food like pigs, not wanting to share, and then finagling their way into getting their hands on the boy's dowry. One of them later ogles the "doll's" legs while she's dancing.

• The family members arguing over possessions before a loved one has even passed away, breaking a vase in the process.

• How the guy who is afraid of girls goes from being chased all over town by 40 young women who all want to marry him to being in the showroom at the dollmaker's, confronted by (probably 40, the same 40) dolls who all hop over to him eagerly, nodding their heads.

• The various innuendo once the young man does take possession of what he thinks is a doll. The toymaker tells him "Don't forget to oil her every two weeks." His father asks him whether he wants any last advice before leaving for the first night of his marriage, to which he replies "No thanks, I have an instruction manual." Oh my goodness, if this isn't classic Ernst Lubitsch, I don't know what is.

"Die Puppe" aka "The Doll" ranks with "The Oyster Princess" as perhaps Lubitsch's most sublime film made during his German period. Both films are superior in many respects to the well-known but pallid historical drama, "Madame duBarry" aka "Passion" (also made in 1919). Lubitsch himself felt that way. In a letter he once submitted to his biographer Herman G. Weinberg, Lubitsch considered "Die Puppe" and "Oyster Princess" as his most outstanding comedies produced in Germany before he departed for Hollywood to make "Rosita".

An early, entrancing example of what Lubitsch would become years later, "Die Puppe" is a supremely funny and delightful silent burlesque, filled with the master's light, witty, and graceful touch. The setting is frothy and artificial and it anticipates Lubitsch's enchanting fairy tale musicals of the sound era.

"Die Puppe" is introduced by Lubitsch himself with an artificial cardboard. It is a fairy tale about of a young prince named Lancelot(Hermann Thimig) who flees from his uncle Baron von Chanterelle(Max Kronert) to avoid a marriage. He settles in a monastery. There, he meets several monks who persuade him to marry a human-like mechanical doll and give them his uncle's dowry. The doll-maker Hilarius (Victor Janson) agrees to Lancelot's interest in his newest doll, an exact replica of Hilarius' daughter Ossi (played by Ossi Oswalda herself). But there is a problem: The doll-maker's young apprentice (Gerhard Ritterband) accidentally breaks the arm of the doll and now it is up to Hilarius' daughter Ossi to impersonate the doll in order to cover it up. Lancelot takes the doll/Ossi to his uncle's castle, where some of Lubitsch's most inventive gags occur as Lancelot mistakes real Ossi for the doll. He actually falls in love with the doll/Ossi. And the wedding scenes alone are some of the funniest moments ever filmed.

If you are a fan of Lubitsch, "Die Puppe" is an essential viewing.

I caught this on TCM, it is a completely captivating and delightful experience for all ages, so many layers in this story. Cannot recommend it enough for its period charm and generally kookiness.

However, the cast list here on IMDB is a mess due to faulty translations. "Dessen Frau" means "His Wife", and refers to Baron Chanterelle (chanterelles are a group of mushrooms, much eaten in Germany in late summer/autumn.) Similarly, "His Daughter" (Ossi, or The Doll) again refers to the Baron as her father. "The Briar" (!) should, I think, be The Friar; only in the film he is in fact the Abbot of the monastery, not merely a Brother. Wikipedia gets it all correct on its page about this film.

The opening shot of Ernst Lubitsch's The Doll announces wordlessly that it's going to be...different. A man, Lubitsch himself, comes out and sets up a house and yard with paper on a table, which we then zoom in on and two characters exit the house to start the story. What follows is an unrealistic tale of love and fantasy that delights and entertains while providing what seems to be the earliest form of the Lubitsch Touch. This isn't the tale of high society and wit that Lubitsch became famous for, but it's really close to it.

The Baron of Chanterelle (Max Kronert) is frustrated because he has only one heir, his nephew Lancelot (Hermann Thimig), and Lancelot has seemingly no interest in women or extending the family line. He dictates that Lancelot must marry, and he decrees it to the whole kingdom, sending all forty eligible maidens into a Benny Hill-esque chase for Lancelot around the storybook looking country as the Baron chases behind, taking spoonfuls of medicine from his assistant as he goes. It's amusing and delightful, and it ends with Lancelot finding refuge in the local abbey, led by the abbot (Jakob Tiedtke), where the friars all sit around, bemoan their near ruinous state as they eat large portions of pork and bread. Lancelot begs them to grant him a safe space from his uncle's grasp, and they let him in.

It's when the Baron puts an ad in the kingdom's newspaper begging Lancelot to come back with a promise of several hundred thousand kroner as a dowry that the abbot reads, giving him a great idea. He'll connect Lancelot with the renowned dollmaker Hilarius (Victor Janson), and Lancelot can bring a female doll with him to the Baron to trick him into thinking that Lancelot has married. He'll be able to take the dowry and give it to the abbey so they'll never run out of pork knuckles! Nothing about this is terribly deep, and it's sometimes a bit too thin (why does Lancelot agree to give all the money to the abbey? I dunno). However, the meat of the film is the titular doll.

Hilarius has created his newest doll and modeled it after his daughter Ossi (Ossi Oswalda, in a dual role). When Hilarius' apprentice (Gerhard Ritterband) accidentally breaks the arm of the doll, Ossi decides to protect him (why? Unclear) by pretending to be the doll just as Lancelot shows up to pick a doll for his ruse. The film becomes an outright farce with Ossi pretending to be the doll with Lancelot dragging her around as she maintains the ruse. Why she does it is unclear, but the comic effect is sustained surprisingly well through the series of events. She keeps her arms up and maintains a static smile while obviously getting a kick out of the whole thing (her most likely motivation: it simply entertains her). She keeps it up through the wedding ball where she has to balance her need to maintain the fiction for Lancelot while happily dropping it here and there when Lancelot isn't looking to grab some food or drink or just dance with the Baron. Lancelot's innocent inability to grasp the situation (married to the storybook method of the film's telling) is the source of a lot of the comedy in the story, and that Lubitsch leaned so heavily into the storybook visual motifs throughout shows that he knew there needed to be a level of artifice around the events to give it the kind of narrative space necessary to sell the events to the audience.

This farce of intentionally mistaken identities along with the high society, European setting is what makes it feel more in line with the later perception of Lubitsch and his work, but that outright storybook visual aesthetic and lack of wit in the dialogue (there's not none, but it's extremely limited by the silent film format, relegating the little wit it can display in dialogue to intertitles) makes it feel like a proto-form of what Lubitsch would later become known for.

The resolution of the plot threads lead the pair back to the abbey after the successful conning of the Baron (since Ossi is a real person and not a doll, was it really a conning?), and Ossi's identity gets fully revealed, leading to the two falling in love. Why? It's thin stuff, but it's amusing. However, the depth of character required isn't quite captured. And yet, this isn't Carmen, this is The Doll. It's a farce and a comedy, and there's enough work done to make the comedy work and the narrative flow, just not enough to make the heart sing by the end.

I really appreciate the deep weirdness of the film, offset by the farcical aspects. Whenever I see a female doll like this in a film, I automatically think of the dehumanizing look at the titular character in Fellini's Casanova. It's nice to see this detail played more lightly, though I imagine this was an influence on Fellini later.

This is something of a nice gem in Lubitsch's early career. It's light and frothy farce that could have benefited from a stronger approach to its characters to establish them and their motives. However, what drives the film is its light comic sensibilities which, when combined with the intentional storybook visual aesthetic, creates a delightful little trifle of a film that points to where Lubitsch was going to go later.

All cinema is artificial, and there is no getting away from this no matter how much of a realist you try to be. And while authenticity and naturalistic performances are a necessity for drama, there are some types of picture in which a deliberate flaunting of artificiality is not only acceptable, it is a positive benefit.

By this point in his career, German comedy director Ernst Lubitsch had developed a unique brand of slapstick, the hallmark of which was absurdity and exaggeration. In Lubitsch's world, almost anything can happen, and often does. The stories he dreamed up with his regular collaborator Hanns Kraly were always whimsical and fairy tale-ish, but the Doll is perhaps their most fantastical of all. In it we have a lifelike mechanical doll, and a flesh-and-blood woman pretending to be the doll. Rather than go overboard trying to make this look as convincing as possible, Lubitsch takes things the other way, and stages the whole thing in a phoney and theatrical land, complete with wooden sets, painted backdrops and pantomime horses. In such a setting, the premise of the picture becomes workable.

Aside from this, the comic stylings of the early Lubitsch farces were becoming increasingly refined. As usual there are lots of jokes based around ridiculous numbers of people doing the same thing in unison, or the expressions of characters in reaction. Here Lubitsch shows the confidence to have many of these gags play out in long, unbroken takes, with hilarious results, such as the long shot of Lancelot being chased round the town by a huge gang of women, followed by his elderly uncle, followed by a servant with the uncle's medication. Often the careful placement of actors means our attention is drawn to the right spot at the right time, as oppose to overdoing a gag with a jolting cut. An example of this is the uncle's servant's very funny reaction to Lancelot's suggestion that the uncle get married. Lubitsch has the servant to one side of the screen, where it seems natural for him to be, but closest to the camera so his face is clear and we instantly notice when his expression begins to change.

As the eponymous doll, we have here another triumphant performance from Ossi Oswalda. While individual actors were used almost like cogs in Lubitsch's machine, there is no denying that Oswalda was surely a great comedienne in her own right. Here she shows impeccable control and timing, as she is forced to instantaneously snap in and out of being herself and acting as the doll. She also has a lot of fun pulling faces in this one. Honourable mentions go to Hermann Thimig, who is clownish enough to make a lead man in this silly setting, and Gerhard Ritterband, who despite being a youngster manages to steal every scene he is in. It's a shame these two did not have more distinguished screen careers, but of course it's worth bearing in mind that many of these players were more successful on the stage.

Speaking of which, it's possible that some viewers might be put off by the theatrical artifice of this picture. There is a rather depressingly naïve school of thought among some cineastes that film is film and theatre is theatre, and for film to make itself like theatre is to somehow straitjacket itself. But as we have seen, Lubitsch's creation of a self-confessed unreal world has given him greater freedom in staging his bizarre humour. Another German director, Fritz Lang, used a similar approach in his films of the 20s and early 30s albeit for a very different effect, whereby he created macabre and stylised art deco cities in which all kinds of comic-book adventures could take place. And in the Doll, when we see characters sleepwalking over rooftops or being carried away by a bunch of helium balloons, it is reminds me more than anything of the world of cartoons, in which the only limitation is the skills and imagination of the animators. With pictures like this, Lubitsch was really setting his genius free.