‘The Marriage Circle‘ from 1924 is one of the first films of Ernst Lubitsch‘s American career. The Berlin-born film director brought to American audiences a style of romantic comedy that he would develop after the advent of sound in talking films and especially in musicals. His influence as a director and producer would grow over the next two decades, setting one of the main directions of entertainment movies produced in Hollywood. ‘The Marriage Circle‘ already hints to many of the hallmarks of the director’s style (‘the Lubitsch touch’) and is a film that I have enjoyed despite, or perhaps precisely because of, the 101 years that have passed since its making.
The story takes place in Vienna, but it is an idealized Vienna, a Lubitsch space rather than how Vienna must have looked like in the years after World War I and the fall of the Austro-Hungarian Empire. At the center of the story are two wealthy couples who live in magnificent houses. Professor Stock suspects – and perhaps with some reason – his wife Mizzi of being unfaithful to him. He hires a detective to follow her and provide enough evidence for a convenient divorce. Dr. Braun and his wife Charlotte are newlyweds and very much in love with each other. Things get complicated when Mizzi sets her sights on the handsome Dr. Braun, while Charlotte is coveted by Dr. Mueller, her husband’s friend and professional partner. Will the two marriages resist the intrigues and temptations of illicit relationships?
What I found very interesting in ‘The Marriage Circle‘ is the role that music plays in a movie from the silent film era. To compensate for the lack of sound, Lubitsch attributed the film’s heroes a passion for music and even indicated with scores on the screen at some points which pieces of music they are playing. A few years later, when the era of sound films began, Lubitsch would be one of the pioneers of musical movies, adding the dimension of musical soundtracks to the romantic comedies in which he specialized. Even this film would have a musical version a decade later, but the 1924 original surpasses the remake in the qualities of the narration and the actors’ performances. Among those present on screen, I was particularly impressed by Marie Prevost, a beautiful actress with great comic and dramatic expressive talent, who had an all-too-short career and a tragic fate. Viewers interested in classic comedies and those who want to study the origins of the productions that would make Hollywood and its studios famous will enjoy watching ‘The Marriage Circle‘.