Ernst Lubitsch

S.: su un idea di Fred Orbing (pseudonimo di  Norbert Falk). Sc.: Hanns Kräly, Fred Orbing. Scgf.: Kurt Richter, Karl Machus. Cost.: Ali Hubert. F.: Theodor Sparkuhl. M.: Alexander Schirmann. In.: Pola Negri (Jeanne Vaubernier, poi  Madame Dubarry), Emil Jannings (Louis XV), Reinhold Schünzel (il duca di Choiseul, Ministro dello Stato), Harry  Liedtke (Armand de Foix), Eduard von Winterstein (il conte Jean Dubarry), Karl Platen (Guillaume Dubarry), Paul Biensfeldt (Lebel, valleto di camera del Re), Magnus Stifter (don Diego, ambasciatore spagnolo), Willi Kaiser-Heyl (Comandante della guardia), Elsa Berna (la Duchessa di Gramont), Fred Immler (Conte di Richelieu), Gustav Czimeg (il Conte di Aiguillon), Alexander Ekert (Schuster Paillet), Marga Köhler ( Labille), Bernhard Goetzke, Robert Sortsch-Plá. P.: Projektion-AG Union, Berlino. 35mm. L.: 2280m. D.: 125’ a 16 f/s

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

From my period of historical, period costume films, I would have to cite the three most extraordinary Carmen, Madame Dubarry, and Anne Boleyn. In my opinion the importance of these films lies in the fact that they completely distinguished themselves from the Italian school, which at that time was quite fashionable and near to Lyrical Opera. I tried to clear all references to opera out of my films and to bring my historical characters onto a more human level – the smaller, more intimate differences were just as important to me as mass movements, and I tried to blend the two.

E. Lubistch, Brief an Herman G. Weinberg, 10.7.1947, in Prinzler/Patalas, Lubitsch und seine Filme, München, Heyne Verlag, 1992

Pola Negri is of extraordinary beauty still today, and furthermore no actor at her level could be found today for Emil Jannings’ role. And the delicate decadence of the chosen Potsdam, with its gardens and castles. It lets the sweetness of life in a pre-Revolutionary world be deeply felt in respect to the actual historical buildings in Versailles that appear quite massive and domineering compared to latent homosexual Grande Federico’s lovely but bored Rococo. We can thus only rejoice in the fact that Lubitsch shot his film in Potsdam instead of Versailles.

Helma Sanders-Brahms in H.H.Prinzler/E.Patalas, ed. by. Lubitsch, München-Luzern, Heyne Verlag, 1984

Copy From

This version is the first phase of the restoration which is based on a positive nitrate print conserved by Cinémathèque Suisse and from the originale negative, held by Bundesarchiv-Filmarchiv.