[Quick Summary: When a Russian bureaucrat goes to Paris to sell seized jewels, she falls for a guy who represents all she stands against.]
Who was this revered director? And what exactly was his famous "Lubitsch touch"?
After reading this quote by Samson Raphaelson (who wrote 9 films with Lubitsch), I think this "touch" is more about his approach:
...I never caught Lubitsch ever thinking in terms of a formula; that is, he wouldn't say, "How can ve use a door in this scene?"...He would face the problem and say, "Vat do ve do here? How do ve lick dis? How do ve say it vit style? How do ve say it different? How do ve say it different and good? Different and true?" but he was also one of the few great practitioners who was not a victim of his own inventions and of his own style. In The Smiling Lieutenant, for instance, he used a minimum of dialogue and only at the high moments - this was soon after talking pictures came in, still using the rich resources of silent invention, so that the dialogue would become the cream, the peak of a scene. (my underlines)
Today's script is one of Lubitsch's top 3 favorites and most often cited.
It is a prime example of: 1) doing a breakup differently; and 2) holding off on dialogue until the high point.
In the scene below:
- Ninotchka has come to Paris to sell the jewels of the former Grand Duchess Swana, who now resides in exile in Paris.
- Ninotchka falls for Leon.
- Swana is Leon's ex-girlfriend and is suing for her jewels back.
- Meanwhile, someone stole the jewels back for Swana.
- After Swana bleakly states the reality of the situation, notice how this breakup is different. Ninotchka and Leon are matter-of-fact and holding back emotions.
- I love how previously Ninotchka would not drink champagne nor ask for a funny story, and now she does, i.e., she's changed.
- The dialogue peaks when Leon expresses he will never be the same (see below):
INTERIOR, SMART NIGHT CLUB
...SWANA (rubbing it in): It is unfortunate that you have so few more days in Paris. (she turns to Leon) Be sure and redouble your efforts so that madame can take some pleasant memories when she returns to Moscow. (she rises, Leon rising too) Good night. (Ninotchka nods without answering. To Leon) Good night, Leon.
LEON (coldly): Good night, Swana.
Swana leaves the table. Leon sits again. The mood of the two has been changed by the problem of their separation, which has been brought before them. They sit in silence for a moment. Ninotchka speaks first.
NINOTCHKA: Now I think I need a glass of champagne.
Leon fills their glasses. They drink. Then Leon takes Ninotchka's hand.
NINOTCHKA (trying to break the mood): Quickly, please...tell me one of your funny stories.
LEON: A funny story?
NINOTCHKA: You never finished the one about the two Scotchmen with the names.
LEON: Well, there were two Scotchmen. One was named McIntosh and one was named McGillicuddy. They met on the street.
He stops.
NINOTCHKA: Go on.
LEON: No, darling. I'll tell you another story, a much better one. (with deep sincerity) The only thing that will be over on Thursday is the lawsuit. There will be no Thursday for us. Not next week or any week. We won't let it happen. I'll tear it out of the calendar. Is that a good story? ["Tear the calendar out" is a beautiful image. What a different way to say he'll never forget her.]
NINOTCHKA (touched): Wonderful -- if one could believe it.
LEON: You must, darling.
NINOTCHKA (lifting her glass): To the loveliest story I ever heard.
They drink. The orchestra starts a number.
NINOTCHKA (afraid of where the conversation may lead): Shall we dance?
They both start toward the dance floor.
WHAT I'VE LEARNED: This breakup is so poignant because it's got deep emotional truth that's so graceful, elegant, and amusing too.
The more I read about Lubitsch's work ethic, the more I realize that "how do we say it different?" takes a whole hell of a lot of work.
Ninotchka (1939)(shooting draft)
by Charles Brackett & Billy Wilder and Walter Reisch
Based on the original story by Melchior Lengyel
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