SmugKitZine Tied for the best movie I have ever seen

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Asad Almond A clunky actioner with a handful of cool moments.

MartinHafer I had to see this film for two reasons: I love silent movies and I love the films of Ernst Lubitsch. So, since it was BOTH, I felt it would be a terrific film. Unfortunately, it really was nothing out of the ordinary--even if the film looked good.The film is about the wacky world of adultery. It concerns two couples and a guy who all get wrapped up in a case of partner-hopping. One lady is married to a nice guy but all she seems interested in doing is chasing men. He suspects and hires a private detective to follow her. The current object of her desire is her best friend's husband. As for this friend and her husband, they are both idiots. He wants to be a good and faithful husband but puts himself in bad situations. Several times throughout the film, I just wanted to see him belt the hussy! As for his wife, I really, really disliked her. Again and again, she pushed her husband away from her and distrusted him--as if she was trying to get him to cheat on her. And, at the same time, the husband's partner starts making the moves on her.All this is supposed to be sophisticated and witty. The problem is, it's not the least bit witty. It manages to make adultery seem a bit dull, actually. And, as the characters are mostly unlikable, I found it really hard to actually care about them or their plights. At best, this film is ordinary. Fortunately, Lubitsch went on to far better things.

Steffi_P Silent cinema is not inherently inferior to the sound cinema, but many silent pictures, especially those from the early-to-mid 1920s, seem stilted in comparison to their talkie counterparts due to an over-reliance on title cards, and a lack of faith in the audience's ability to "read" images. Fortunately, they aren't all like this, thanks to the inventive boldness of the era's greatest filmmakers.To start at the very beginning (a very good place to start), The Marriage Circle is the first comedy Ernst Lubitsch made in Hollywood. It's been pointed out that there was an abrupt change in pace compared to his earlier Berlin comedies, which were non-stop riotous farces. This is true, but The Marriage Circle also sees an enormous shift in tone. Lubitsch's pictures in his home country were absurd to the point of being surreal, staged with an emphasis on exaggeration and peopled with theatrical caricatures. The Marriage Circle however depicts a reasonably realistic situation, albeit a comically improbable one. There is no slapstick here, but neither is it a witty verbal comedy. Instead the humour derives from numerous misunderstandings as five characters become innocently entangled a complex love pentagon. In this, the audience is omniscient – we know everything that is going on – whereas each character knows only enough to make them misconstrue. Lubitsch's problem then, was how to convey this to the audience without spoon-feeding them every detail, and above all keep it funny.He does it, not just by showing us everything, but by showing us how things are seen by everyone. The camera is never merely presentational; it is always within the action. In virtually every shot, we are either seeing things from a character's point of view or we are focusing on a character's reaction. The angles are never external, watching the players interact with one another; they are always down the line, putting us inside the interaction. And Lubitsch is brave enough – and knows we are intelligent enough – to switch quickly from one perspective to another. For example, in the scene where Mizzi (thinking she is onto something) embraces Dr Braun, we go from Muller seeing them from behind and assuming Mizzi is Charlotte, to his seeing Charlotte in the waiting room (and thus realising the woman in the embrace can't have been Charlotte), to Braun realising Charlotte is watching, to Charlotte realising Braun has been dallying with a female patient… whom she doesn't realise is Mizzi! As you can see, it all sound rather confusing when put it into words, but on screen it's a cinch to follow.But that's not all that's going on here. As well as getting the right angles on the action, Lubitsch throws in some subtle tricks to imply rather than state the way things are. In the opening scene, it is clearly established that the Stocks's marriage is not the most harmonious, but it is one simple moment that reveals the true extent of the breakdown. Adolphe Menjou sees his wife get into a cab with another man, assuming (wrongly of course!) she may be having an affair. He turns to the camera, his expression unreadable. And then, slowly, a smile spreads over his face.And this leads me neatly onto the next point, that it is as much the skills of the actors that make this wordless fiasco workable. The two lead men, Adolphe Menjou and Monte Blue, are not comedy actors in the normal sense, but they exhibit great comic timing and control. Just as the story is believable but unlikely, their performances are naturalistic but extreme. Menjou is the master of the withering glance and the long-suffering sulk. You get the impression, just by looking at his face, that here is a man who was not cut out for marriage. Blue, on the other hand, expertly portrays the complete opposite, a modest and honest man who seems unaware of his own attractiveness. You pick up his character from some neat little gestures; such as him nervously pulling at his collar to cool off – something you normally only see cartoon characters doing. Florence Vidor has the restrained demeanour of the only entirely normal person caught up in this situation, and gives a wonderful straight performance that counterpoints all the others. Creighton Hale is the only one of the players who is somewhat hammy and unrealistic, but as a more marginal and somewhat ridiculous character, he is allowed, and even helps give the picture its slightly silly edge. Marie Prevost is the only one of the five who is not exceptional, but she is by no means bad, and at least fits the part.Lubitsch himself claimed this was his favourite of all his own pictures, and the only one which if he had to do again he would change nothing. It was well liked by his contemporaries too, and in the dying days of the silent picture you can see a significant move towards more sedate and subtle silent comedies, especially in the work of directors like Rene Clair and Leo McCarey. And after that of course, the talkies would come along, and it would all change again.

Cyke 007: Marriage Circle (1924) - released 2/10/1924, viewed 7/27/05.Vladimir Lenin dies and Joseph Stalin begins his bid for leadership of Soviet Russia. The 1924 Winter Olympics commence in Chamonix, France. Petrograd is renamed Leningrad. The U.N. recognizes the Soviet Union. Mohandes Gandhi is released from prison on medical grounds. The gas chamber used for the first time in an execution in Nevada.BIRTHS: Sabu Dastagir. DEATHS: Vladimir Lenin, Woodrow Wilson.KEVIN: We now come to a more unusual entry, a silent sex comedy from a soon-to-be-renowned German filmmaker. I didn't know what to expect from Ernst Lubitsch's Marriage Circle. As it turned out, I enjoyed it very much. Each scene seemed funnier and more engaging than the last. I loved the characters, and I was intrigued by the way the film was performed. Although it was probably done often, it seems like it'd be difficult to adapt a stage play, full of spoken dialogue, to the silent screen. But this one does it wonderfully. The actors all do an excellent job of expressing every emotion and nearly every word without us being able to hear them at all, and with very few title cards necessary. We've got plenty more Lubitsch films further along in the sound era, and I'm looking forward to watching them all.DOUG: I must be honest, I didn't think a comedy like this could possibly work as a silent film. There's not a lot of action happening like with Keaton or Chaplin. There are plenty of characters interacting and bickering. I had suspected that this started out as a play before making the leap to film, and this at a time when film and stage were even more different than they are now. With the dialogue cards only revealing the most essential lines, the actors have to absolutely sell it. And they do. It took me a little while to figure out exactly who was who and what everyone was doing, but once I got it, the movie was a lot of fun. There are a lot of good twists and turns that manage to work despite the lack of sound; When Charlotte suspects her husband Franz is having an affair, she enlists her best friend Mizzi to watch him at a party, unaware that it is in fact Mizzi that Franz is having the affair with. We had a lot of fun filling in the dialogue ourselves, and it is never hard to understand what the characters are thinking.Last film: Our Hospitality (1923). Next film: The Thief of Bagdhad (1924).The Movie Odyssey is an exhaustive, chronological project where we watch as many milestone films as possible, starting with D.W. Griffith's Intolerance in 1916 and working our way through, year by year, one film at a time. We also write a short review for each and every film. In this project, we hope to gain a deeper understanding of the time period, the films of the era, and each film in context, while at the same time just watching a lot of great movies, most of which we never would have watched otherwise.

bristolsilents This was Lubitsch's first film for Paramount following Rosita with Mary Pickford and sees him in transcendent form.A highly sophisticated comedy set in Vienna (possibly to allow for the outrageous conduct of the characters)and rich in complex farce scenarios and intelligent narrative twists played by an excellent cast.Marie Prevost is extraordinary as the relentless pursuer of the happily married Dr Franz Braum, happily married that is to her best friend played by Florence Vidor. Adolphe Menjou offers a characteristically fine performance as the betrayed husband seeking divorce from his wayward wife. His expressions are hysterical as he reveals his caustic feelings towards his spouse. This film explores issues of marriage, commitment, fidelity and temptation in the Lubitsch style. A very funny, touching comedy that displays Lubitsch's talent for understated sophisticated comedy. This stands alongside some of his best films such as The Shop Around the Corner and To Be or Not to be as an equal.