Sumurun

The richness of Max Reinhardt's stage direction of Friedrich Feska's play, THE ARABIAN NIGHTS, is transferred and adapted to the screen by Reinhardt's protege Ernst Lubitsch who, in his final acting performance, as the hunchback clown Buckliger, heads a sterling internationally flavored cast which he directs with his customary vigor in this German production, one of the last films made by Lubitsch in Europe. Upon the stage a masque, SUMURUN is remedied by Lubitsch of its static quality as he prescribes a non-stop folly of exuberance which the polyglot players are quite capable of providing, in particular Paul Wegener (Germany), Pola Negri (Poland), Aud Egede Nissen (Norway) and Jenny Hasselqvist (Sweden), each of whom performs strongly and adds lagniappes of interpretation to the scenario of Hans Kraly. Lubitsch, a veteran of the Yiddish stage, generally as Meyer the Jew, is a clear guide to his actors in this melodramatic tale of a sheikh (Wegener) who desires to add an itinerant dancing girl (Negri) to his harem because of his dissatisfaction with his principal houri (Hasselqvist) who in turn desires a young wandering merchant with whom she shares a strong physical attraction. Buckliger is in love with the gypsy dancer, but the mulatta role portrayed by the diminuitive Negri is one who has learned to trust only the adornments of wealth and is therefore most willing to become a harem resident, a prospect which she finds most cordial although, of course, many complications come about involving, among others, the son of the sheikh. Lubitsch's unique style, which incorporates the frequent use of innuendo, found favor in Hollywood, principally with Mary Pickford who, because of her viewing of SUMURUN, was able to entice the director to the United States, bringing Negri with him, as they had shared many Continental successes, and after her career was macerated by her emotional excess and strong accent, the director continued on to great acclaim, praised for his "Lubitsch touch". This touch is in evidence in this silent German film as it continued to be in his subsequent English language efforts and is essentially the conjugating of the lashes of one eye.

The favorite slave girl of a tyrannical sheik (the memorable Paul Wegener) falls in love with a cloth merchant, which puts her life in terrible danger. Luckily, she is beloved of the rest of the harem, which conspires to bring the true lovers together, while distracting the prying eyes of the eunuchs who serve as palace guards. Meanwhile, a traveling dancer (Pola Negri) is eager to become part of the harem, much to the despair of the hunchback clown who is in love with her.

Ernst Lubitsch directed this lavish production, which is entertaining but cold. Everything about the film keeps us at arm's length - the forgettable lovers, the unaffecting pathos (compare Lubitsch as the clown to the sympathetic Lon Chaney in similar roles) and the strident comedy. The extravagant sets and costumes, and the bold and energetic way in which the film is shot and put together, make the film enjoyable nevertheless.

Jenny Hasselqvist in the title role barely makes an impression. The revelation for me was Pola Negri, whom I was seeing for the first time when I watched this movie. It's her film. Her mixture of naturalness and affected silent-era mannerisms, her blend of girlishness and vampish womanly sexiness, make it clear why she became a star.

Disappointing. The chief problem, as Lubitsch was quick to acknowledge, is Lubitsch. His exaggerated, hammy acting is one that Lubitsch the director would never have permitted any of his players. In fact, he was so unhappy with his over-the-top histrionics that he vowed never to act again.

Admittedly, there are a few other major faults. All the characters are one-dimensional and the story tends to drag, especially in the comedy relief sequences provided by camera-hoggers Kronert and Graetz, who are just awful. Margarete Kupfer's repulsive old hag is also over- indulged.

On the other hand, the film does provide an almost equal number of pleasures. not only in its exotic sets and cinematography, but in the alluring presence of Pola Negri, who receives excellent support from Paul Wegener who cleverly underplays his ruthless, self-indulgent sheik and thus makes him a really terrifying figure.

And for lessons in how to play comic relief with style, I nominate Jakob Tiedtke and Paul Biensfeldt, who both do amusing wonders with seemingly impossible characters. A slave trader, a comic figure? But that's how Biensfeldt plays this despicable little heap of slime-- and it works!

This film is now available on a somewhat odd Alpha Video DVD. Someone has gone to a great deal of trouble to replace the original (presumably German) inter-titles. These new English titles look very swanky indeed, but unfortunately they make the movie itself look just awful, thanks to its rather muddy and extremely well-worn print.

All one can remember from the complex plot of this movie which is yet another "Arabian" fantasy is the presence of Pola Negri. She plays a dancer in a traveling troupe that is forced to get the attention of the local sheik to protect her fellow performers, and allow the troupe to work the streets of the city. She plays the role of the dancer-courtesan to the hilt and her wild and frenzied dance sequence alone is already worth the price of admission. The settings and costumes are clearly influenced by the aesthetics of Diaghelev's Ballet Russes that were still the hot ticket in Paris when this film was made. Particularly it reminded me of "Scheherazade" choreographed by Mikhail Fokine with Ida Rubenstein and Vaslav Nijinski in the title roles, which I have seen produced by the Marinski Ballet and has similar costumes,(Leon Bakst designed the original costumes and his designs have been preserved) particularly for the eunuch, as the ones in the film. The ballet caused a great sensation when it premiered in 1910 as it turned out to have one of Nijinsky's most memorable roles as the slave. In this film Pola Negri is exquisite in her sultry, sensuous persona and one understands her star status from watching her go for it in this film. She is the seductress-gypsy par excellence and it is only when we see her that the movie really comes alive.

While few of Ernst Lubitsch's very early films (so the German silents) are quintessential Lubitsch, they are still well worth watching. Especially 'The Doll' and 'The Oyster Princess'. For quintessential Lubitsch as an overall whole though, look no further than the likes of 'Trouble in Paradise', 'Heaven Can Wait', 'To Be or Not to Be' and 'The Shop Around the Corner', where his unmistakable "Lubitsch Touch" style had fully emerged and at its best whereas it was not yet properly found in his silent films.

'Sumurun' is no exception to this. It is very well made, entertaining and among the high middle of Lubitsch's early efforts, though also rather odd and do agree that it is a little cold emotionally. It is worth the look if one is a fan of this great director and to see Pola Negri in her prime. But one may want to look elsewhere if they want to see a film easier to invest in, more tonally consistent and more subtle, as well as if one wants to see what the fuss with "the Lubitsch touch" is about.

It certainly looks great. The sets especially are spectacular even and the costumes are wonderfully exotic. The photography is neither too static or overblown, the story is opened up enough while not being swamped. The music is a good fit and that it was scored for few instruments worked in its favour, maybe some may have wanted a grander approach but as for me it was great that it wasn't overscored or too constant.

Furthermore, 'Sumurun' is often very amusing, silly but the humorous elements tend to be well-timed and fun. The story goes at an energetic pace and doesn't feel dull. Lubitsch had not properly found his style yet by this film but one can tell that he was engaged with the material and having fun with it. Negri is a very likeable and sultry lead, and seemed to have fun.

That is not to say that 'Sumurun' is perfect as it isn't. Will agree with those that felt that it was on the bland side, and if it allowed us to care for the characters a lot more (only a couple endear really) and simplified the storytelling a little more that would have made things better.

With the humour, it's always amusing but the more farcical moments felt a touch repetitive and most of the cast overplay their parts with a lot of exaggerated gestures going on.

Overall, good fun but not great. Lubitsch went on to much better things. 7/10