Lubitsch cuts to a close-up of a fan impotently falling from a hand: w/ this, Lubitsch, w/ the most efficient poetic sensibility, grasps how a social tapestry dictates emotional expression. Along with Pabst's Brooks silents, LWF feels like a sort of crystallization of cinema's visual strengths. Has the tradition of compositional blocking & revealing ever been used more effectively? Of course the Straubs adored this.
Quite good, but one senses that Lubitsch's temporal style is not yet perfected. One misses the ellipsis, the form of suppression that Lubitsch mastered in his later movies and that provided the most brilliant gags of comic cinema.
What happens when Oscar Wilde, one of the English language's foremost wits, is placed in a medium without talking? Can the Lubitsch touch make up for it? Well, partly—the way Lubitsch stages certain moments is plenty witty on its own. The story comes across more as melodrama than comedy, not far from one of those 1920s "fallen woman" weepies. But Lubitsch shares Wilde's sympathy for the immoral, and that's enough.
would Oscar Wilde hate this movie? hope not, so far this is the best adaptation; but I must say, even though the movie got the story, the actors got all the emotions (beautifully), but the social critics were lost, there's no 'in the gutter looking at the stars' here.
Más cercano al drama sofisticado. Lubitsch sin embargo no deja de aprovechar ciertos momentos para descubrir el lado ridículo de la clase alta, sobre viejas chismosas, por ejemplo. Nuevamente el director se decide por una mujer como protagonista principal. Ella será el centro de atención del círculo masculino y la socialité. Será sin embargo una antiheroína que va rumbo a la redención. Su sacrificio la hace héroe.