* * * * (Out of * * * *)
1. Trouble in Paradise (1932)
2. The Shop Around the Corner (1940)
3. One Hour with You (1932)
(with assistance from George Cukor)
4. Heaven Can Wait (1943)
5. The Wild Cat (1921)
6. The Love Parade (1929)
7. Monte Carlo (1930)
8. The Smiling Lieutenant (1931)
9. Design for Living (1933)
10. The Marriage Circle (1924)
11. Eternal Love (1929)
12. Broken Lullaby (1932)
13. Lady Windermere’s Fan (1925)
14. The Student Prince in Old Heidelberg (1927)
15. The Oyster Princess (1919)
16. Madame DuBarry (1919)
17. The Doll (1919)
18. Anna Boleyn (1920)
19. Sumurun (1920)
20. The Merry Widow (1934)
21. Angel (1937)
22. Cluny Brown (1946)
23. Ninotchka (1939)
24. That Uncertain Feeling (1941)
25. To Be or Not to Be (1942)
26. Bluebeard’s Eight Wife (1938)
27. Carmen (1918)
28. I Don’t Want to Be a Man (1918)
cinematiccoffee 
Lubitsch was a genius and oh how he was imitated! He founded a whole genre, the screwball comedy. Everybody tried to be Lubitsch. His protégé Billy Wilder kept a sign on his office wall: How Would Lubitsch Do Ii? But of course, you know I know you already knew that. To Be or Not to Be is my favourite Lubitsch. Watching it gives me a warm, fuzzy feeling, I don’t know what it is, but you only get it in black-and white movies. Maybe it’s the presence of Carole Lombard, my favorite classic era actress. Lombard and Lubitsch was a match made in heaven.
Lubitsch was indeed a cinematic national treasure and yes, it is hard to see comedies like The Awful Truth and Bringing Up Baby amongst others being made possible without his intended or unintended influence. I am quite aware of that sign Billy Wilder had on his office wall 🙂 I remember shortly after Lubitsch funeral (or was it during it?), Wilder sadly remarked “No more Lubitsch.” and fellow director William Wyler (in an equally mournful tone) responded with “Worse than that. No more Lubitsch pictures.” Then again, I am you are probably aware of that as well 🙂 You are right, watching a Lubitsch does give one a warm and fuzzy feeling. For me, I do not If it is more subtle or open, but I most certainly feel it. And yes, Carole Lombard and Ernst Lubitsch are indeed a match made in heaven. Aside from working with Lubitsch with To Be or Not to Be, she also worked with the legendary Howard Hawks a decade earlier with 1934’s Twentieth Century. But once again, you are most certainly aware of that 🙂 Anyway, thanks for dropping by 🙂