Madame DuBarry

Follows the rise and triumph of Madame DuBarry as she sleeps and teases her way from a worker in a millinery shop to King Louis XV's mistress and to Countess (at least in name). The final scenes showing her condemnation and execution during the French Revolution look like an afterthought.

A heavy historical spectacle, though the cast of thousands mainly is around for the Revolution scenes.

Pola Negri is the main bright spot and she can be quite enchanting when shy tries (mainly during the first third of the picture).

Why it was banned in France is unclear, though none of the major characters are very sympathetic.

Has little of the Lubitsch touch.

The Ernst Lubitsch "touch" as it would later be known, was altogether little-known back in 1919 and for the curious looking back into the director's repertoire, Madame DuBarry is often seen a historical curiosity rather than a signpost to later greatness. It is my opinion however that this widely-regarded stance on Lubitsch's first major motion picture has just as much to do with the quality of prints available as it does with the feature's tendency to lean on drama more than comedy. Having recently viewed Eureka's newly- released blu-ray featuring a crisp new print backed up by a dynamic score by William Axt, it's clear that although "the touch" is notably lighter (or darker) than Lubitsch would employ in his films later on in his long career, there remain many scenes during the film's first hour where the director plays with his characters and plot in a manner which explicitly seek to extract laughs rather than varying degrees of pathos.

Writers Norbert Falk and Hanns Kraly tell the infamous story of Jeanne Becu, her rise to power's easily-swayed side, and in the end her ultimate fate at the hands of the Reign of Terror. Although they play loose and casually with the real events that the film is based upon, the writers do well in keeping key points together whilst telling a compelling character drama. Historians may well cry humbug, but the story is gripping, amusing and enlightening in spite of its inaccuracies. Lubitsch himself directs the script's calling for epic moments of drama well, though instils just enough humour and light-heartedness to break it up so as to not become overbearing. Lead star Pola Negri establishes herself in a seminal role here, and often makes a lot out of very little. Also of note is Emil Jannings as King Louis XV, Harry Liedtke as Armand De Foix and Reinhold Schünzel as Minister Choiseul who make scenes devoid of Negri as compelling as possible, even though the ham can get a little chewy at times.

This was my first time viewing Madame DuBarry so have no real reference point to other prints of the film other than having history with other silent-era movies with some terrible public- ___domain versions which never really do the films any justice and at times render them incomprehensible. It's for this reason that I thoroughly recommend viewing the film on Eureka's blu-ray if you have a means to do so. Not just because the image quality is outstanding, but also largely in part for Axt's score which complements the on-screen action superbly. It might not be as light and airy as Lubitsch fans would hope for going this far back, but there's still plenty here to enjoy and strikes a nice balance between lush historical-costume drama and darkly- amusing character piece.

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.

Both stars - along with director Ernst Lubitsch and cameraman Theodor Sparkuhl - not surprisingly went on to successful careers in Hollywood. But although apparently the first feature film to depict the French Revolution it does takes an awfully long time getting there. When the Bastille is finally stormed DuBarry's fate seems rather abrupt, as it was toned down upon its American release by First National and a hundred years later the full gory details apparently remain largely lost.

Pola Negri in a powdered wig (plus silent screen eye shadow that makes her resemble Theda Bara) makes an appealing Royal mistress, and although as Siegfried Kracauer observed, "the story's contempt for historical facts is matched only by its disregard for their meaning", one is content for the most part to let the richness of the production and Negri's allure work their magic.

This early effort by Lubitsch is disappointingly heavy going, lacking the famous light touch of his later films. This is full on melodrama with little sense of fun, or history, as it tells the story of Louis xv's lover. Apparently this film caused a sensation when, re-titled "Passion", it was released in the USA. It also established its star and director on the international scene. It's very hard to understand why.

Negri and Jannings are quite good in the lead roles but are given few opportunities to shine. The camerawork is stilted and there is little in the way of visual interest, despite some large crowd scenes and lavish sets and costumes. It's all rather dull.

The print I saw ran at 110 minutes, with a relentlessly heavy music score, and was badly washed out. This made it quite hard to distinguish some of the characters as their powdered wigs changed them into white blobs - and some of the overly long letters were unreadable.