How Would Lubitsch Do It?

Author and scholar Krin Gabbard joins us for our third and final episode on TROUBLE IN PARADISE! In this episode, we cover Samson Raphaelson’s history with Lubitsch, Samson’s mixed feelings on the film itself, the film’s ambivalence towards the possible romantic pairings that it might end on, and the dense use of leitmotifs in W. Franke Harling’s score.

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Bram Ruiter returns to discuss IF I HAD A MILLION and THE CLERK. For details as to where to find this film, check out our resources page.

Willa Ross returns to further discuss TROUBLE IN PARADISE! In this episode, fierce debates are had about the film’s position on the spectrum between idealism and cynicism, Lubitsch’s sense of rhythm, the film’s political angles in the context of the great depression, the famous clock scene, the way in which sensory deprivation allows us to participate in the creation of artistic meaning, and much more!

Edited by Rylee Cronin

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Columbia University professor and author Krin Gabbard joins us to discuss yet more TROUBLE IN PARADISE!

MPAA Production Code notes on TROUBLE IN PARADISE. courtesy of the Margaret Herrick Library.

Pre-Code Lubitsch (from THE DISSOLVE) by Kim Morgan

In the first of three episodes in on TROUBLE IN PARADISE, Tanya Goldman joins us to discuss two key works in the Gentleman Thief subgenre - the aforementioned TROUBLE IN PARADISE as well as William Dieterle’s JEWEL ROBBERY! We cover the work of William Powell, Kay Francis, Herbert Marshall, and Miriam Hopkins, the differing ways in which each film deals with morality and ethics in the midst of all the pre-code transgressions, the love language of thievery, and plenty else!

Edited by Griffin Sheel

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Will Ross returns to further discuss TROUBLE IN PARADISE. For details as to where to find this film, check out our resources page.

Flawless: Kay Francis’ Jewel Heist Comedies in 'Crooked Marquee' by Julia Sirmons

University of Wisconsin-Madison Professor Emerita Lea Jacobs joins us for a discussion of film rhythm in the early sound era. We discuss the various ways films can deal with on-set singing and musical numbers, the incredibly complex and constrictive ways in with early sound films were constrained when it came to everything from blocking and camera placement to editing, Mamoulian and Lubitsch’s respective uses of music as rhythmic devices, and the difficulties that audio revisionism engenders.

Throughout this episode, we’ll be referencing various videos that are available at the bottom of these shownotes.

Edited by Gloria Mercer

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Listen on: Apple Podcasts | Spotify

Tanya Goldman joins us to discuss TROUBLE IN PARADISE as well as JEWEL ROBBERY. For details as to where to find these films, check out our resources page.

Film Rhythm After Sound by Lea Jacobs

In this very special episode, we visit Matt Severson on-location at the Margaret Herrick Library in Beverly Hills, California to discuss the glorious pre-code adultery musical ONE HOUR WITH YOU! In this wide-ranging conversation, we discuss the film’s monumental horniness, the ways in which Lubitsch & company were allowed to get said horniness past the censors, the musical styles on display, the film’s status as a remake of THE MARRAIGE CIRCLE, the various fourth-wall breaking moments, the rare tinted cut of the film, Hans Dreier’s gorgeous art deco production design, and much more. Oh, that Mitzi!

Edited by Griffin Sheel

Recorded by Anna Citak-Scott at the Margaret Herrick Library in Beverly Hills, California.

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University of Wisconsin-Madison Professor Emerita Lea Jacobs joins us to discuss LOVE ME TONIGHT as well as film rhythm in the early sound era. For details as to where to find this film, check out our resources page.

Eclipse Series essay on One Hour With You by Michael Koresky

MPAA. Production Code Administration Records for One Hour With You courtesy of the Margaret Herrick Library

Film writer and podcaster Will Sloan joins us to discuss THE MAN I KILLED (BROKEN LULLABY), Lubitsch’s heartfelt 1932 pacifist screed and his only straight-ahead drama of the sound era.

We cover the film’s radical interwar politics, its portrayal of grief, the many different performance styles on display, the haunting and twisted ending, national post-WWI guilt, the film’s imperfections (which we love), our fantasy recasting of Philips Holmes, and much more.

Edited by Sophia Yoon.

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Matt Severson returns to discuss ONE HOUR WITH YOU. For details as to where to find this film, check out our resources page.

UC Berkeley PHD student Jonathan Mackris joins us to discuss Lubitsch’s 1931 musical THE SMILING LIEUTENANT! In this episode, we cover Maurice Chevalier’s career and charisma, the film’s mildly troubled production, the entrance of the highly consequential Samson Raphaelson to the Lubitsch stable of collaborators, Lubitsch’s increasingly ambitious use of montage, the questionable musical abilities of various lead characters, and much more.

Edited by Rylee Cronin.

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Will Sloan joins us to discuss THE MAN I KILLED (aka BROKEN LULLABY.) For details as to where to find this film, check out our resources page.

Eclipse Series essay on The Smiling Lieutenant by Michael Koresky

Billy Wilder’s Explanation of the Lubitsch Touch

Romantic Comedy in Hollywood by James Harvey

Katharine Coldiron, author of Junk Film: Why Bad Movies Matter, joins us to discuss Ernst Lubitsch’s 1930 musical MONTE CARLO. Our wide-ranging conversation covers the evolution of Lubitsch’s formal technique in the early sound era, the film’s extremely naughty lyrical content, and its gentle satire of class and gender roles. In the second half of the episode, we move on to a discussion of “junk movies”: films which, despite a distinct lack of competence on the part of their creators, achieve something of value.

Edited by Sophia Yoon

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Jonathan Mackris joins us to discuss THE SMILING LIEUTENANT. For details as to where to find this film, check out our resources page.

Eclipse Series Essay on Monte Carlo by Michael Koresky

Junk Film by Katharine Coldiron

Anti-Masterpieces by Will Ross

After Last Season (Film Formally Podcast)

Street Fighter: The Movie (The Hit Factory Podcast feat. Devan Scott)

Ursinus College professor Jennifer Fleeger joins us to discuss THE LOVE PARADE. In this episode, we cover the operetta form, the divergent singing styles of Jeanette Macdonald and Maurice Chevalier, how those styles interact with the recording technology of the time, as well as this film’s fascinating and sometimes uneasy ways of dealing with both class and gender roles.

Edited by Griffin Sheel.

Katharine Coldiron joins us to discuss MONTE CARLO. For details as to where to find this film, check out our resources page.

The MPAA Production Come Administration Records for THE LOVE PARADE courtesy of the Margaret Herrick Library

Paris and the Musical: The City of Lights on Stage and Screen edited by Olaf Jubin

Eclipse Series: Lubitsch Musicals essay on The Love Parade by Michael Koresky

Pre-Code.com’s list of Essential Pre-Code Hollywood Films

Sound American by Jennifer Fleeger

Mismatched Women: The Siren Song Through the Machine by Jennifer Fleeger

Media Ventriloquism by Jennifer Fleeger

How Would Lubitsch Do It returns for a fourth season! It’s an exciting time for Ernst Lubitsch and, therefore, the podcast: this season, we’ll be covering the years between the introduction of synchronized sound in Hollywood and the establishment of the Production Code Administration in 1934. Ahead of us lie the years of Lubitsch’s greatest influence in Hollywood: by the end of this season, he’ll have gone from a prominent silent film director to being the first (and only!) director to have ever been given the reins of a major Hollywood studio. In between lie many of his greatest and most celebrated works.

Aside from our film-by-film coverage of Lubitsch’s work in this period, this season will feature a number of experts in the field of early sound cinema who have lent their time and knowledge so as to help paint a clearer picture of the evolving state of both technology and artistry in Hollywood cinema throughout this era.

The first of these guests is Patrick Keating, professor of Communication at Trinity University and author of Hollywood Lighting from the Silent Era to Film Noir as well as The Dynamic Frame: Camera Movement in Classical Hollywood, among others. In this episode, Patrick and I discuss the history and ideology of early camera movement: why do directors choose to move, and how do they theorize the motivations behind this movement? We also discuss the dimensions of visible labor behind camera operation, the many differences between dollies, cranes, gimbals, and steadicams, aspect ratio shifts, and the many misconceptions floating around regarding early film camera movement.

Edited by Griffin Sheel.

Ursinus College professor Jennifer Fleeger joins us to discuss THE LOVE PARADE. For details as to where to find this film, check out our resources page.

Hollywood Lighting from the Silent Era to Film Noir by Patrick Keating

The Dynamic Frame: Camera Movement in Classical Hollywood by Patrick Keating