Passion

Ernst Lubitsch directed his ambitious historical drama "Madame DuBarry." Athough highly inaccurate in its timeline, the period-piece project depicted French King Louis XV, played by Emil Jannings, with his mistress, Madame DuBarry, acted by Pola Negri. The film, with a cast of thousands, was so popular in Europe that First National won the bid for its United States distribution rights, becoming one of first foreign movies imported to America for general public viewing. Lubitsch's production was the premier picture that opened Berlin, Germany's huge Zoopalast Theatre, on September 18, 1919. The Zoopalast served as post-war Germany's showcase for some of cinema's most influential films during a 10-year span.

Called "Passion" in the U. S., "Madame DuBarry" takes dramatic license in its depiction of the king and his mistress, which is shown on the backdrop of the 1789 French Revolution, wherein reality their affair occurred 30 years earlier. In movies, however, there's no reason why history should get in the way of a good story. In Lubitsch's version, written by two German screenwriters, DuBerry is the dominate force in the relationship, making the king subservient to every whim she desires. "Madame DuBarry" becomes the feminist version of a historical pivot point in European governmental and societal evolution. Despite his ability to showcase large crowd scenes, Lubitsch rarely returned to historical epics.

Now that i'm in depth in the silent movies era, it's clear that today we are dumb to dismiss them! I don't understand why this rich and excellent productions are not promoted while today movies are always on the top being in nothing much gripping than their ancestors! Thousand of words have been written for Coppola's Marie Antoinette and just a few for this one even if it's as sincere and moving! First of all, those old movies are not really BW but are tainted: yellow, red, blue, green. It's funny to see (and a bit tragic) that today are as much filtered while we have all the technology to give splendid colors like our phones!! Next, i'm french and while i heard the name of this Madame, i couldn't tell her story so it was very interesting to learn that she was at the top with Louis XV and down at the revolution! This period production is really lavish but for the exteriors, as a french, i can say this is not french architecture and style. The movie is a good drama, great slice of french history and it really means something that sex & power are a such an explosive couple, in the XVIII, XX or XXI.

While more familiar with his better known late-20s all the way through to the 40s work, the best of which with the likes of 'Trouble in Paradise', 'Ninotchka', 'Heaven Can Wait' and 'Shop Around the Corner' are justly acclaimed, that is not to say that his early films are to be neglected. On the most part his early work, pretty much all of which being in German, is very interesting and well worth watching, 'The Doll' and 'The Oyster Princess' being standouts.

'Madame DuBarry' from 1919 is another one of his early films. It is intriguing for anybody that likes silent films and those in non-English (of which there are many, not just Lubitsch in terms of German silents but even more so early-Fritz Lang and FW Murnau) and it is worth a look with a fair share of obvious good things. But there are far better films from Lubitsch and is somewhat disappointing by his very high standards. Not just overall, but even from this period.

The production values are beautifully produced in the costumes and sets (especially the costumes). It is also beautifully and clever shot, namely towards the end, it's not refined on a visual front as far as Lubitsch films go but for me it's one of his better looking early ones. The score avoids being too intrusive or too syrupy, dangers with the kind of film 'Madame DuBarry' is.

Some compelling moments can be seen in 'Madame DuBarry' too. The mob scenes are big in scale, especially for a film dated from the late 1910s, and the final moments are very moving. Pola Negri's performance may not be subtle, but she is always a powerful presence and is affecting in the title role. Emil Jannings, one of the silent film acting greats, is typically formidable. The acting generally didn't feel static or histrionic and there is good chemistry between the actors. There are a few light-hearted moments along the way.

Regrettably though they don't come enough. Was not expecting non-stop wit and sophistication, 'Madame DuBarry' is not that kind of film (and anybody who has prior knowledge of her would know that too) and it was made at a time when Lubitsch was still finding his style, but it could have done with a lighter touch in places. It does feel a little too dark and serious generally.

Pacing can be a little too ponderous and too often it was a little too bland from the lack of character depth and emotion, excepting the mob scenes and conclusion. Lubitsch's direction is striking visually but on a dramatic front it's on the flat side.

Overall, above average but a long way from classic Lubitsch, early years and overall. 6/10

The life story of French milliner's maid Pola Negri (as Jeanne Marie Vaubernier), who becomes the famed mistress ("Madame Du Barry") of Emil Jannings (as King Louis XV). Unfortunately, the French Revolution catches "rags to riches" Ms. Negri on the wrong side of polite society. Her stalwart first love Harry Liedtke (as Armand de Foix) attempts to help out, but only to a point. This film is more important than entertaining, as it was director Ernst Lubitsch and cast's foray into much of the English speaking audience's world. The passionate performances raised both eyebrows and profits. However, the stodginess overwhelms scenes like lustful Mr. Jannings sending Negri into rapture by stuffing a scroll down her cleavage. Mr. Liedtke might have become bigger star in the USA, if fate were different; he and Negri have great chemistry.

***** Madame DuBarry (9/18/19) Ernst Lubitsch ~ Pola Negri, Harry Liedtke, Emil Jannings

Like Norma Shearer's MARIE ANTOINETTE almost twenty years later, this is an attempt to tell a rags to riches tale set in the last years of the French aristocracy. We see Jeanne rise from milliner to mistress of all who would have her, finally married to her protector's brother so she could become the king's favorite. Negri and Jannings do well as Du Barry and Louis XV but this is no intimate drama so it lacks character development and depth. Jeanne, it seems, is ever faithful to her first love, the student, Armand, and looks out for him unbeknownst of course, only to be shamed when he learns who his benefactress really is. So like a man!

Negri is early in her career and far from the subtle actress she would later become. She is so heavily made up that she is often rather grotesque. Jannings always pulls off a characterization with professional aplomb but here he has little to do until his death scene, where he pulls out the stops. There is a lot of posturing and it tries quite well to give us a history lesson - although it succeeds, it is dullsville along the way.

The lavish and elaborate art direction is worthy of award consideration. Don't seek this out unless you are a fan of the two leads, the director or the subject matter.

Note: that same year Lubitsch would "go mad" and find his niche with the delightfully funnny OYSTER PRINCESS. While that film is also worthy of art direction honors, it is Lubitsch's marvelous directorial touches that deserve as high a consideration.