Lubitsch focuses on the English aristocracy, with all the clichés we expect: immense mansions, artful refinement of the lords, butlers proud of the social position of their lords...
Marlene as Lady Barker, now the respectable wife of an English diplomat too busy in European politics, but with a possibly less respectable past, meets Melvyn Douglas, an American passing through the city of lights wanting to have a good time, in a Parisian brothel for high society.
During an afternoon together that pretends to have an adventure without consequences, they fall in love without revealing their identities, although when things get serious Lady Barker disappears leaving the American with a bouquet of flowers in his hand, and without the slightest idea of how to meet the lady again.
Back with her husband Lady Barker resume her boring and lonely life in the country manor. Everything seems to be back to normal, but it turns out that the husband and lover know each other, having shared a young French girl while on leave in Paris during the first war.
The plot has possibilities, we have fun with how Lubitsch circumvents and makes fun of the thematic restrictions imposed by the code, and the story is always treated with a bright and original tone, and at the same time adult and reflective, with plenty of those Lubitsch touches (witty twist, committed innuendos, ellipses...); but compared to other Lubitsch comedies of the time, it lacks sparkle, is drowned out by its sophistication, and too parsimonious. The scenes work better explained than seen.
That calm, dramatic tone would require us to really believe the story and the characters, and that's where it fails. We see it more as an ultra-sophisticated fantasy of three impossible characters having relationships in a shop window or fashion magazine. Especially problematic is the role of Dietrich, just as problematic as the one she played in Blonde Venus.
Marshall, as the husband, is once again the irritating Hollywood image of the typical English aristocrat and diplomat, but with few exceptions and despite being a very good actor, I have almost always found him excessively smug and monotonous.
Overall, an interesting comedy, with all the sophistication and elegance of Lubitsch, Dietrich and classic Hollywood, about the dangers faced by a marriage that is not a marriage, with an adult approach and an understanding and conciliatory vision, but we would have preferred something more spontaneous and down to earth.
Marlene as Lady Barker, now the respectable wife of an English diplomat too busy in European politics, but with a possibly less respectable past, meets Melvyn Douglas, an American passing through the city of lights wanting to have a good time, in a Parisian brothel for high society.
During an afternoon together that pretends to have an adventure without consequences, they fall in love without revealing their identities, although when things get serious Lady Barker disappears leaving the American with a bouquet of flowers in his hand, and without the slightest idea of how to meet the lady again.
Back with her husband Lady Barker resume her boring and lonely life in the country manor. Everything seems to be back to normal, but it turns out that the husband and lover know each other, having shared a young French girl while on leave in Paris during the first war.
The plot has possibilities, we have fun with how Lubitsch circumvents and makes fun of the thematic restrictions imposed by the code, and the story is always treated with a bright and original tone, and at the same time adult and reflective, with plenty of those Lubitsch touches (witty twist, committed innuendos, ellipses...); but compared to other Lubitsch comedies of the time, it lacks sparkle, is drowned out by its sophistication, and too parsimonious. The scenes work better explained than seen.
That calm, dramatic tone would require us to really believe the story and the characters, and that's where it fails. We see it more as an ultra-sophisticated fantasy of three impossible characters having relationships in a shop window or fashion magazine. Especially problematic is the role of Dietrich, just as problematic as the one she played in Blonde Venus.
Marshall, as the husband, is once again the irritating Hollywood image of the typical English aristocrat and diplomat, but with few exceptions and despite being a very good actor, I have almost always found him excessively smug and monotonous.
Overall, an interesting comedy, with all the sophistication and elegance of Lubitsch, Dietrich and classic Hollywood, about the dangers faced by a marriage that is not a marriage, with an adult approach and an understanding and conciliatory vision, but we would have preferred something more spontaneous and down to earth.