La chatte des montagne

It really is obvious at this point that Ernst Lubitsch needed dialogue to shine. I don't think he'd made a bad film yet (well, except for The Eyes of the Mummy which I've mostly pushed out of my brain), but he was consistently held back by the silent film medium's inherently different approach to building character than sound films or stage plays. His best films are comedies that take a broader approach to things, which The Wildcat tries to fit in, but, at the same time, this film embraces a level of character complexity that Lubitsch can't quite justify through the actual narrative. The film's focus, though, ends up being zany comic antics, which is where the film is easily at its best and most entertaining, but I feel like if Lubitsch wasn't going to figure out how to write more rounded characters in the silent film space, he should have simplified the storytelling, especially in the final act.

Lieutenant Alexis (Paul Heidemann) is a ladies' man who is sent to the remote outpost run by a fat, mustachioed commander (Victor Janson). The commander has a wife (Marge Kohler) who lords over him and a daughter Lilli (Edith Meller) whom the commander decides should marry Alexis when he comes. On his way to the fortress, Alexis is waylaid by bandits led by the titular wildcat, Rischka (Pola Negri) who becomes completely enraptured by this gentleman soldier who manages to get away from his captors through a series of caves that he just kind of wanders through. It's a comedy, so it's slightly amusing, at least. These first two acts (like most of Lubitsch's early films, there are explicit acts) are the weakest of the five and they are really just about setting up the characters (borderline caricatures) and overall situation.

With news of the bandits, the commander sends Alexis and the men out to punish the attackers, but Rischka and the men under her are easily able to embarrass the soldiers with snowballs and superior placement, sending Alexis back defeated. However, the commander just assumes a victory and decides to marry Alexis to Lilli as a reward. The soldiers deciding to not correct their commander is honestly pretty funny. What follows is the central comic set piece of the film, the celebratory dance in honor of the betrothed. Reminiscent of the foxtrot epidemic in The Oyster Princess, it's a party that steadily grows out of control as people get into the music, including two guards outside the fortress's main gate. It's a raucous affair that gets intertwined with Rischka leading a small raiding party into the fortress, stealing some clothes, running into the drunk commander who salutes them, and, ultimately, with Alexis and Rischka chasing after each other through the large, unreal sets.

There's a moment where both Rischka and Alexis are spinning on a pole as they chase after each other that's completely unreal but highly entertaining and just part of the escalating comic and manic energy of the sequence. There's no effort to make it connect from an editing perspective to what comes before and after, with a quick cut to Rischka running in another room being the next shot, but it's kind of perfect with the silly quality that the film is embracing.

The actual dramatics of the film don't work quite as well. It's a situation where Alexis has to choose between Lilli and Rischka but also where Rischka has to choose between Alexis and the bandit Pepo (Hermann Thimig). This sort of two-sided question really needs strong character work, even in a silly movie like this one, to work. Why does Alexis ultimately choose Lilli? Is it his duty? It's kind of hard to figure out. The harder side is Rischka deciding to let Alexis go and return to Pepo, willingly just walking away from the man she was consumed with having for herself. Even in a silly film that embraces some early form of cartoon logic, if these dramatic turns come up they need to be supported, and I don't think they are.

Does that sink the film? Not at all. It just limits my appreciation. This isn't the top tier of Lubitsch's early comic work in the German film industry. It's second tier behind The Doll and The Oyster Princess, but it's certainly funnier than the Sally Meyer stuff.

Essentially, I really look forward to sound coming into Lubitsch's toolbox.

While there are not many personal favourites from Ernst Lubitsch early German silent films, done before he had found his signature style, there were certainly gems. 'The Doll' and 'The Oyster Princess' being two examples. The late 1910s-early 20s was a very interesting and worthwhile period in Lubitsch's career, especially to see how he fared early on in his career before properly finding his style with 'The Love Parade' and got even stronger from there.

'The Wild Cat' is another film from the German silent film period and lives up to its wild name all right. Is it one of Lubitsch's very best? No, nowhere close and it is a long way from being a classic. But it is one of the better and more entertaining films of his from his German silent film period in my view, and if asked whether it is recommended my answer would be yes as long as you know what to expect. Which is an entertaining and inoffensive ride but not yet the witty and sophisticated Lubitsch that he became very well known justifiably for.

Admittedly, 'The Wild Cat's' story is very thin, and it is also one that doesn't have a lot of substance and can be a little too controlled in spots.

Maybe it could have done with a little more variety in places.

However, 'The Wild Cat' is well made visually. Really loved the mountain scenery and exteriors and the photography is not claustrophobic or gimmicky, some of it came over as quite elegant to me. Lubitsch's direction is not refined yet, but he clearly seemed to know what he was doing and didn't seem uncomfortable with it. The music is unobtrusive and is not large in scoring or over-complicated rhythmically, allowing the comedy to speak.

Something that does very much happen here. The humour is plenty and it is never less than amusing and actually even very funny at its best (if one disagrees that's fine). It is of the broad kind, not the sophisticated and witty kind that Lubitsch later would be famous for, but not in a way that gets overly silly or vulgar. The situations do suspend a bit of disbelief but have a wild energy about them and don't resort heavily in repetition, while the energy is always there and the characters didn't come over as dull or annoying here. The cast do very well, with Pola Negri handling her very physical comedy with ease and her comic timing is far from flabby.

All in all, very enjoyable if not a Lubitsch essential. 8/10

In the snowy Bavarian Alps, the arrival of preening soldier Paul Heidemann (as Alexis) causes pandemonium in a military town. Thousands of women surround him, foreshadowing the attention given Rudolph Valentino and The Beatles. Not participating in the initial adulation is spirited mountain girl Pola Negri (as Rischka). A regular wildcat, Ms. Negri is introduced in a scene which shows her driving men crazy by whipping their buttocks. The men rub their rumps and complain, but return for more attention. After some kissing, Negri sees Mr. Heidemann's coach and throws a snowball at him. When he gets out and she sees his plump heinie, they get romantic...

Released when Negri and director Ernst Lubitsch were international favorites, "Die Bergkatze" was not a favorite with audiences. It's a farcical comedy inhibited by Mr. Lubitsch's relentless parody of an old film staple known as the "iris shot". This is when the screen, usually to close a scene, will turn black for a diminishing circle. In the theater, the look was achieved with lightning. Filmmakers were experimenting with the visual and Lubitsch employs it all over this film, and in a variety of shapes...

A decade earlier, there was a debate about whether motion pictures should use the "close-up shot" because some felt the audience would feel like they were denied a full look at the performer (as on the stage). With a "close-up" you still get the full look; with the "iris shot", you do not. In this film, the visual is excessive and distracting. We're denied full-screen looks at the film's chief strength, its beautiful set decoration. Another feature, the "double exposure", nicely introduces Act IV "Rischka's Dream". Usually cast as a seductress, Negri is most engaging as a comedienne. The available print looks great and is accompanied by a new, oppressive soundtrack.

***** Die Bergkatze (4/14/21) Ernst Lubitsch ~ Pola Negri, Paul Heidemann, Victor Janson, Wilhelm Diegelmann

"The Wildcat" is an amusing romantic comedy made by Ernst Lubitsch, although more farcical than his later American work, but which was common of his German comedies. It wouldn't be long before the director emigrated to the US, and his increased stature in the business by this time is evidenced by the expensiveness of the sets and the more polished filmmaking in this film compared to his earlier comedies. The castle fortress set and its art deco décor look very nice, as does the outdoor scenery of the Bavarian mountains. The long staircase featured during an impromptu chase scene is especially impressive. One criticism of the film, however, could be that the settings sometimes dwarf the actions of the characters and narrative. Additionally, as Kristen Thompson ("Herr Lubitsch Goes to Hollywood") could point out, the standard, flat V-pattern lighting of German film-making back then doesn't do well to distinguish, or spotlight, the characters from the settings. Reportedly, this was one of Lubitsch's least successful films, which probably encouraged him to discontinue this brand of comedy that he had heretofore found so fruitful.

There are very many masked framings of shots (circular, rectangular, ovals, irises, masks shaping the image inside of what look like fangs and snowballs, etc.). Another reviewer suggested Lubitsch was poking fun at D.W. Griffith and his cinematographer Billy Bitzer, who, indeed, employed iris shots and various masking effects frequently, but, otherwise, I don't see much function for their use in "The Wildcat". The masks for point-of-view looks through keyholes and binoculars, of course, have an obvious function, and the rest, I suppose, works to establish the spectator's point-of-view, but, overall, the framings here seem too distracting and gimmicky.

Nevertheless, the picture features plenty of pleasant nonsense amusement, with some funny moments scattered about, even if the humor is often broad. Scenes such as the crowd of women gushing over the departing Casanova-like Lieutenant, including goodbyes from his many children, or the stream of tears gag are especially comical. What little there is of a story and plot take a back seat. And, I think Pola Negri is more appealing here as an uninhibited mountain bandit than she is in some of her more melodramatic roles.

One of the better of Lubitsch's rough mountain comedies, with Pola Negri as the wild daughter of the bandit chief (all of the the bandits' possessions are festooned with skulls, to show how dangerous they are) who falls in love with the handsome lieutenant brought in to marry the daughter of the corpulent and ineffectual colonel of the fort. Like his other mountain comedies -- MEYER FROM BERLIN, ROMEO AND JULIET IN THE SNOW and KOHLHEISEL'S DAUGHTER -- it is a very broad comedy, with much falling down in the snow.

In those days, Lubitsch would shoot half a dozen films a year for UFA, and one would always be a mountain comedy shot on site in Bavaria, where he liked to take a working vacation every winter. They were not polished and witty pieces like The Oyster Princess and The Doll, but they were very popular.