| |
|
|
|
|
| |
|
|
|
Als ich tot war / Wo ist mein Schatz |
| • Germany • 1916 |
| |
|
|
|
Angel |
| • USA • 1937 |
| |
|
|
|
Anna Boleyn |
| • Germany • 1920 |
| |
|
|
|
Bluebeard's Eighth Wife |
| • USA • 1938 |
| |
|
|
|
Broken Lullaby / The Man I Killed |
| • USA • 1932 |
| |
|
|
|
Carmen |
| • Germany • 1918 |
| |
|
|
|
Cluny Brown |
| • USA • 1946 |
| |
|
|
|
Das Weib des Pharao |
| • Germany • 1922 |
| |
|
|
|
Das fidele Gefängnis / Ein fideles Gefängnis |
| • Germany • 1917 |
| |
|
|
|
Der Blusenkönig |
| • Germany • 1917 |
| |
|
|
|
Design for Living |
| • USA • 1933 |
| |
|
|
|
Desire |
| Frank Borzage, () • USA • 1936 |
| |
|
|
|
Die Augen der Mumie Mâ |
| • Germany • 1918 |
| |
|
|
|
Die Austernprinzessin |
| • Germany • 1919 |
| |
|
|
|
Die Bergkatze |
| • Germany • 1921 |
| |
|
|
|
Die Flamme |
| • USA • 1923 |
| |
|
|
|
Die Puppe |
| • Germany • 1919 |
| |
|
|
|
in Berlin |
| Robert Fischer • • 2006 |
| |
|
|
|
Eternal Love |
| • USA • 1929 |
| |
|
|
|
Forbidden Paradise |
| • USA • 1924 |
| |
|
|
|
Heaven Can Wait |
| • USA • 1943 |
| |
|
|
|
Ich möchte kein Mann sein |
| • Germany • 1918 |
| |
|
|
|
If I Had a Million |
| (The Clerk), Norman Taurog, Stephen Roberts, Norman McLeod, James Cruze, William A. Seiter, H. Bruce Humberstone • USA • 1932 |
| |
|
|
|
Kohlhiesels Töchter |
| • Germany • 1920 |
| |
|
|
|
Lady Windermere's Fan |
| • USA • 1925 |
| |
|
|
|
Madame Dubarry |
| • Germany • 1919 |
| |
|
|
|
Meyer aus Berlin |
| • Germany • 1919 |
| |
|
|
|
Monte Carlo |
| • USA • 1930 |
| |
|
|
|
Ninotchka |
| • USA • 1939 |
| |
|
|
|
One Hour with You |
| , George Cukor • USA • 1932 |
| |
|
|
|
Paramount on Parade |
| (Origin of the Apache, A Park in Paris, The Rainbow Revels), Dorothy Arzner, Otto Brower, Edmund Goulding, Victor Heerman, Edwin H. Knopf, Rowland V. Lee, Lothar Mendes, Victor Schertzinger, Edward Sutherland, Frank Tuttle • USA • 1930 |
| |
|
|
|
Romeo und Julia im Schnee |
| • Germany • 1920 |
| |
|
|
|
Rosita |
| • USA • 1923 |
| |
|
|
|
Schuhpalast Pinkus |
| • Germany • 1916 |
| |
|
|
|
So This Is Paris |
| • USA • 1926 |
| |
|
|
|
Sumurun |
| • Germany • 1920 |
| |
|
|
|
That Uncertain Feeling |
| • USA • 1941 |
| |
|
|
|
The Love Parade |
| • USA • 1929 |
| |
|
|
|
The Marriage Circle |
| • USA • 1924 |
| |
|
|
|
The Merry Widow |
| • USA • 1934 |
| |
|
|
|
The Patriot |
| • USA • 1928 |
| |
|
|
|
The Shop Around the Corner |
| • USA • 1940 |
| |
|
|
|
The Smiling Lieutenant |
| • USA • 1931 |
| |
|
|
|
The Student Prince in Old Heidelberg |
| , (John M. Stahl) • USA • 1927 |
| |
|
|
|
Three Women |
| • USA • 1924 |
| |
|
|
|
To Be or Not To Be |
| • USA • 1942 |
| |
|
|
|
Trouble in Paradise |
| • USA • 1932 |
| |
|
|
|
Wenn vier dasselbe tun |
| • Germany • 1917 |
That Ernst Lubitsch (Berlin, 1892-Los Angeles, 1947) was one
of the greatest creators in the history of film is an uncontested
claim recognized the world over. A highly unusual filmmaker
of a style demanding its own name: his inimitable, elegant and
intelligent manner of making people laugh was labelled The Lubitsch
Touch.
Billy Wilder, Joseph L. Mankiewicz, Woody Allen among so many
other geniuses have always looked up to a master: Lubitsch.
It was he who made Greta Garbo laugh in Ninotchka (1939). And
who dared, in full swing of the Nazi offensive, to ridicule
Hitler in the ferocious, hilarious anti-fascist pamphlet: To
Be Or Not To Be (1942). These are fully recognised achievements
by the creator of comedy masterpieces including The Shop Around
the Corner (1940) or Bluebeard’s Eighth Wife (1938). However,
less presence is enjoyed by the extraordinary anti-war drama
Broken Lullaby (1932) or the large part of his work made while
movies were still silent, from the inheritance of Oscar Wilde
in his version of Lady Windermere’s Fan (1925) to the
delicious inventiveness of Die Austernprinzessin (1919). The
San Sebastian Festival will take an in-depth look at the complete
works of Ernst Lubitsch in a retrospective completing an overview
of a director who was more than just a stereotyped master of
sophisticated comedy, underlining the palpable traces left by
his cinema even today.
A regular chapter in the Festival retrospective section has been
a cycle dedicated to a classic director, enabling us to appreciate
the little or virtually unknown work of such filmmakers as Robert
Siodmak, James Whale, William Dieterle, William A. Wellman, Gregory
La Cava, Tod Browning, Mitchell Leisen, Mikio Naruse, John M.
Stahl, Carol Reed, Frank Borzage, Michael Powell, Preston Sturges,
Anthony Mann and Robert Wise.
Sponsored by:

|