Die Austernprinzessin

As disappointed as I was in the dramatic titles in Kino's LUBITSCH IN BERLIN series, this comic double feature more than makes up for it. It clearly shows that Ernst Lubitsch's true talent lay in comedy not dramatic spectacle and these movies serve as a blueprint for his later career in Hollywood. THE OYSTER PRINCESS (1919) is an outrageous farce about an overly pampered American tycoon ("I am not impressed" is his favorite reply) who tries to find a prince to marry his spoiled and impetuous daughter. It's not subtle but it's extremely funny. I DON'T WANT TO BE A MAN (1920) is an early version of VICTOR/VICTORIA as a young woman dressed as a man has her guardian fall in love with her. This movie is closer to the Hollywood Lubitsch.

Both films give Lubitsch the opportunity to score satirical points taking on such targets as the American nouveau riche, impoverished aristocrats, and male and female stereotypes. Both films also feature German silent comedienne Ossi Oswalda who looks like Mary Pickford but behaves like Mabel Normand. She is an absolute delight especially in MAN as she challenges the roles men and women are assigned by society. The pictures are crisp black and white transfers with incredibly witty intertitles which clearly show that Germans do have a sense of humor. The musical accompaniment by Aljoscha Zimmerman (PRINCESS) and Neil Brand (MAN) complements both films perfectly.

My only criticism of this disc is that the movies are too short (PRINCESS is 64 min while MAN is only 48) whereas the dramatic ones in this series seem to go on forever. Proof once again that comedy was Ernst Lubitsch's true forte. This DVD (along with THE WILDCAT which is positively outrageous) belongs on your shelf as a perfect example that slapstick can be sophisticated and that other countries beside America could produce excellent silent comic fare...For more reviews visit The Capsule Critic.

Saw this yesterday at the "Konzerthaus", Vienna, with live music provided by a jazzy Belgian group called "Flat Earth Society". Without a doubt the best movie I've seen in quite a while. Highlights in this quasi-surrealistic romp (running a mere 63') include a meticulously choreographed "foxtrott epidemic" and a mass boxing-match amongst a benevolent society of billionaire's daughters. Ossi Oswalda (great name by the way), as the daughter of the titular "Oyster King", somehow manages to be tempestuous, spiteful, spoiled, endearing, lovable and sexy at the same time. A miracle of screen acting and directing. Stemming from 1919, the film reflects the coming of a new age of relative sexual freedom, female self-determination and the resignation of the aristocracy as the determining force of Central European society after the defeat of the World War ("Prinz Nucki", Ossi's intended, has fallen into the squalor of a one-room apartment). Lubitsch, at 27, reaching the pinnacle of his art from which he would not descend for the rest of his unique career.

The old adage about jokes has it that "It's the way you tell 'em", and this applies to visual gags as well as verbal ones. Almost anything can be funny depending on how you present it. The German comedies of Ernst Lubitsch are like a master class in how to "tell" jokes on the silent screen.

What makes these pictures very different to their American counterparts, is that in Hollywood silent comedies revolved around a star. Germany had no Chaplin, Keaton or Lloyd, but they had a lot of decent comedy supporting players, and they had the brain of Lubitsch. In Lubitsch's best comedies (and this is one of his two or three finest) the humour is all derived from arrangements and exaggeration. He was, in effect, a choreographer of comedy.

We all know about the necessity of comic timing. But comic space is equally important. Lubitsch often makes a joke out of suddenly changing the way we view something. For example, we see from the side-view Nucki and Josef hurriedly tidying their little apartment, and then when they finally allow the matchmaker to enter, we switch to the angle from the doorway, and are suddenly hit with the inventively effective makeshift throne room they have thrown together. But Lubitsch's greatest and most unique moments are the ensemble gags. You see, if Mister Quaker had one servant following him around wiping his nose and carrying his cup of tea, it might be kind of funny. But to have four identically dressed servants trotting after him, each one doing a different menial task, is hilarious. The jewel in the Oyster Princess's crown has to be the "foxtrot epidemic" which is absolutely beautiful in its precise comic construction.

Lubitsch has melded this thing from the most wonderful of components. Writer Hanns Kraly has given him a tight and fast moving plot, ideal for the lightning supply of gags (apparently in their many collaborations Lubitsch would get the basic idea for a story, and Kraly would shape it into something workable). The Oyster Princess is a particularly absurd spin on a well-known theme – a marriage of convenience between nouveau riche and bankrupt aristocracy. There's also a dash of Cinderella thrown in, with Josef's impersonation of Prince Nucki making him the Dandini figure. These are familiar themes, and thus ones easy for Lubitsch to tweak into crazed but affectionate parody.

And the cast, while not quite the attention-holding clowns that formed the centre of Hollywood silent comedy, are all competent at their game and worthy of a chuckle. Harry Liedtke pratfalls nicely and does an amusing drunk act. He has a great face for a comedy lead man; handsome, but with his wide eyes looking perpetually a little sick or worried. Ossi Oswalda was one thing the US didn't have – a young and pretty female comic lead who is actually comical in her own right. The possible exception to this would be Mabel Normand, but even she didn't get stuck into these roles the way Ossi does. Oswalda's spoilt brat act is absolutely priceless. Meanwhile Julius Falkenstein is delightfully playful, and Victor Janson's stone-faced pessimism is almost reminiscent of Keaton.

Pictures like the Oyster Princess may be a far cry from the "sophisticated" bedroom comedies of the 1930s for which Lubitsch is best known, but they have a "Lubitsch touch" of a very different kind, that of the bizarre, the over-the-top; the touch of a unique and inspired comic genius. And who says the Germans have no sense of humour?

This wildly satiric four-act film stars Victor Janson as Quaker, an extremely rich American whose every need has been catered for. He doesn't have to do a thing: servants carry him around from place to place, another servant serves him tea, while a third puts a cigar up to his lips on a silver salver. Desperate to get rid of his unruly daughter (Ossi Oswalda), he arranges for her to marry someone suitably rich and socially advantaged. However things do not turn out as planned ... DIE AUSTERNPRINZESSIN (The Oyster Princess) offers a satiric view of Americanism at a time when the German economy was in a particularly weak state. The Quaker family are characterized as rich and wasteful; they fully deserve to become the victims of a comic trick. The film includes some characteristically zany sequences, notably a boxing-match involving Oswalda and a gaggle of female friends, who line up opposite one another and fight, proving, no doubt, that they are as strong (and as pig- headed) as their male counterparts. The film moves towards its expected happy ending, but not without offering some interesting suggestions as to how to contract an advantageous marriage without love even assuming any significance.

The Oyster Princess (1919) - 7.0

Some legit mentally good filmmaking going on here with some interesting shots

Absurdist humor that doesn't feel completely dated

Well put together sets with a solid narrative

Impressive film for the time