Ich möchte kein Mann sein

Frau Ossi ( Frau Ossi Oswalda ) is a good example of how modern were the Teutonic frauleins at the beginning of the last century; youngsters ahead of their time who influenced future generations of women to forget old habits and behaviours. The girlies of today should be being thankful to those old but modern German frauleins, certainly.

For example, Frau Ossi, a bourgeois fraulein, likes very much to play cards and drink with the servants, not to mention smoking cigarettes. She wants to be on equal terms with her male partners, something her father and governess think is very indecorous behaviour for a serious Teutonic girl. However, Frau Ossi is a very modern and unconventional fraulein who doesn't respect old social Teutonic ways. She doesn't hesitate to break the rules and behave like a man but pretty soon Frau Ossi discovers that it's not easy being a man (especially a genuine German aristocrat) going to balls day after day and trying to look good in a tuxedo.

"Ich Möchte Kein Mann Sein" ( I Don't Want To Be A Man ) (1918) is one of those three reel early Herr Lubitch comedies, deliciously funny and very characteristic of Herr Lubitsch's German first period. Typical of these medium-lengths Herr Lubitsch films is a quick rhythm, hilarious situations, many misunderstandings and of course a crowded bourgeoisie ball. The latter features a most peculiar orchestra led by a frantic conductor. It's the usual war between the sexes and the upending of gender stereotypes, full of "joie de vivre" and performances that suit light comedy.

"Ich Möchte Kein Mann Sein" stars Herr Lubitsch's first muse, Frau Ossi Oswalda, a charming but Germanic actress who collaborated with the Teutonic director in this early German period before the appearance of Frau Pola Negri in his artistic life. His subsequent films were more ironic, sophisticated and sexual but the early presence of such themes can be appreciated in films like "Ich Möchte Kein Mann Sein" with the help of madcap Frau Oswalda. The film seems light, even deliciously superficial but this Herr Graf would say that the simplicity is deceptive and underlying it is an elaborate and difficult cinematic technique of which Herr Lubitsch was a master.

And now, if you'll allow me, I must temporarily take my leave because this German Count must behave not as a man, but as an aristocrat.

Very entertaining silent film about cute, lively young Ossi, a tomboy full of a fun-loving spirit, she likes to smoke, drink booze, stick out her tongue, and play poker with her male chums - but her guardian and governess want her to behave like a "proper young lady". Wishing she were "born a boy" she heads to a local men's store and has herself fitted for an evening suit. Soon she's out on the streets in top hat, white tie, and tails, her hair groomed like a boy's, she rides the street car, and goes to a ballroom where she's soon drinking champagne and smoking cigars, flirting with (and even kissing) her own guardian - and he think's she's a fellow!

This film is full of charm and loads of fun, in many ways due to the delightful and well done performance given by Ossi Oswalda, a very likable young actress, totally tops in cute and charming! The DVD of this has a nice looking black and white print and includes an extremely appealing, lively piano score by Neil Brand that is the perfect accompaniment to this film.

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.

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.

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.