Anna Bolena

Nothing dull about this movie, which is held together by fully realized characters with some depth to them. Even the hooded torturers have body language. Jannings' performance is brilliant, all will, want and need. A Henry VIII as he must have been. Henny Porten is, maybe, nobler and purer than Anne Boleyn, but she plays the part as written: A victim caught in the jaws of a big (huge) baby.

Sparkuhl's cinematography is gorgeous in the restoration, the tints sensuous. Lubitsch lets these characters breathe and reveal their corruption down to the tiniest of meannesses. He takes his time, which can try the patience of an audience accustomed to being carried away by action, but the time is worth spending. Slow your heartbeat and watch this minor miracle of German silent film.

This movie earns a 7--because, for its time, it was a heck of a movie. The sets and costumes (mostly which were from the proper period--though some, to the trained eye, were not) are quite impressive. It's obvious that director Ernst Lubitsch was given a huge budget to create this film--and it's better looking than the Hollywood productions of the same period. In fact, today few would realize that the some of the most incredibly complex and expensive productions of this time were German--not American. It was only in the mid to late 1920s that the American films became the best-known and best made. You just can't find a film from 1920 or so that looks better.

Unfortunately, looks alone do NOT make a great film. For someone who wants the truth behind the second marriage of Henry VIII, this is NOT a great film--as many of the facts were clearly wrong. Despite what the movie shows, Anne was Henry's mistress for some time before he got around to marrying her AND the process by which the English separated from the authority of the Pope was NOT the quick process you see in the film--it took years. As a history teacher, this film isn't terrible historically--but it still should have been a lot better. And, if you are going to play fast and loose with the facts, then why not at least make the film more interesting? Overall, the film lumbers during its two hour air time and more recent films (NOT "The Other Bolyne Girl"--which was also a mess historically-speaking) such as "Anne of the Thousand Days" and "The Six Wives of Henry the Eighth" are more accurate and interesting.

Decent but far from as good as it could have been its sumptuous treatment. Plus, while a Lubitsch film, there's little trace of his famed "Lubitsch touch" here in this pretty but rather dull film.

Silent historical drama based on the story of Anne Boleyn, newly arrived lady-in-waiting to the Queen who catches the lustful eye of Henry VIII, bad-tempered King of England who loves to feast, drink, hunt, be entertained by his court jester, watch jousts, and chase around after young beauties who jump out of cakes and assorted attractive females around the castle. Well, he's soon annulled his marriage, married Anne, and telling her it is her holy duty to produce a male heir. She fails on that score and he soon has his eye on yet another lady-in-waiting. Meanwhile, Anne spends pretty much the entire film looking hesitant, perturbed, or downright ready to burst into tears. She just doesn't come across as a happy camper (or is it just bad acting?!).

This film is a solid piece of entertainment, with an absorbing story that held my interest for two hours - plus I enjoyed seeing the very lavish medieval costuming featured here on a gorgeous sepia tinted print. Emil Jannings is quite striking and memorable in his well-done portrayal of King Henry the Eighth - he really seemed like he WAS Henry the Eighth. I am not so sure about the performance given by the actress who plays Anne, seemed a bit over the top. The DVD of this film features an appropriate, nicely done piano score that perfectly suits this story. Quite a good film.

Anna Boleyn becomes the lady in waiting for Catherine of Aragon, wife of King Henry VIII. Henry immediately puts the moves on Anna. When Catherine is unable to produce a son, Henry gets his marriage annulled and marries Anna. Then Henry puts the moves on Anna's lady in waiting, Jane Seymour. Anna produces a daughter, which does not thrill Henry. Anna is beheaded on trumped-up charges of infidelity.

This is a good-looking film, with an excellent performance by Jannings. Henny Porten is also good, particularly during the climax when her own uncle turns against her. The sets and costumes are first rate.

The film runs about two hours, but never drags. One weak spot was the jousting scene, which was a bit lame. This film is definitely worth a look.

I have always been surprised by the fact that the great German born director Ernst Lubitsch first made his reputation by a series of large scale silent costume dramas such as THE EYES OF THE MUMMY, MADAME DU BARRY (PASSION), and this film. Today he is remembered and revered for his comic touch in such talking films as NINOTCHKA and TO BE OR NOT TO BE and that is how it should be. His epic films are gorgeous to look at with large scale sets, elaborate costumes, and hundreds of extras but nothing that D. W. Griffith hadn't done better a few years earlier.

Unfortunately the acting in most of these movies has dated badly and is so over the top that any sense of drama is quickly lost. That is especially true of ANNA BOLEYN (1920) one of four DVD releases from Kino highlighting Lubitsch in Berlin. Henny Porten as the title character is so emotionally overwrought as to be laughable which is clearly not the intention here. Emil Jannings, not exactly known as the subtlest of actors, seems positively restrained in comparison and it's clear to see where Charles Laughton got his portrayal of Henry VIII from.

But to be fair to Porten, this exaggerated style is typical of other Lubitsch dramatic heroines as well including Pola Negri who would come with him to America and become a big star (she's also in SUMURAN and THE WILDCAT which are part of this set). The film looks great with subtle tints and proper framing and features an appropriate but underpowered musical background. An orchestral score would have softened the histrionics.

It's a good thing that Lubitsch discovered comedy otherwise he would have wound up only a footnote in cinema history. For a look at where his true talent lay, check out the comic double bill THE OYSTER PRINCESS / I DON'T WANT TO BE A MAN also in this group of new releases along with THE WILDCAT. They are as funny today as they were in 1920 and point the way to the great Ernst Lubitsch of the future...For more reviews visit The Capsule Critic.