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It has only been in recent years that some of Ernst Lubitsch's silent films have become available on video. They prove that "the man with the golden touch" certainly had it before his more famous films of the 30's and 40's. I was unfamiliar with ETERNAL LOVE until this VHS/DVD incarnation and based on the few reviews I had seen I wasn't expecting much. Imagine my surprise and delight when I found myself totally captivated. I thought the four principals all gave fine performances (especially John Barrymore) and the photography (shot in the Canadian Rockies) was some of the best I've seen in an American silent film. The ending ,while not unexpected, still managed to have a terrific impact. Of the 3 Lubitsch silents I have seen (THE STUDENT PRINCE IN OLD HEIDELBERG and THE MARRIAGE CIRCLE are the other 2), this one tops the list. My thanks to the UCLA Film and Television Archive and to Milestone Films for making it available on video.

I'm pretty familiar with Barrymore's silent work, but other than "Lady Windemere's Fan" I had never seen a silent Lubitsch film before. It was not what I was expecting and that does not mean I was unpleasantly surprised. Lubitsch is well known for his unique "touch", and in my experience of watching his sound films that meant incorporating clever dialogue with insinuation. Without the power of speech, this Lubitsch silent film has all of the power of one of his talking films by using facial expression and some well-placed props.

Barrymore plays a hunter who is basically a loner who is in love with Ciglia, the niece of the town priest. How two such different people could fall in love is not shown in the film, but early on they do declare their love to one another, the occupying French army is driven from the area, and all seems to be well. The problem is that there is a wild girl of the village that has her heart set on capturing Barrymore by any means. Compounding difficulties is a respectable but bland fellow who also loves Ciglia and wants to marry her. These two rivals can't seem to understand that love can't be bought and it can't be trapped. The French being driven from the town is the cause of a great celebration that involves a masked ball and a great deal of liquor. It is this celebration that sets off a series of catastrophes for the young lovers.

What really stood out for me in this film were the very few intertitles used. The film really doesn't need them. Remember that 1929 was the last year that silent films were being made in the U.S. with the exception of a few holdouts like Murnau and Chaplin. It's interesting to look at this film and then compare it to "The Love Parade", a Lubitsch sound film made at the end of the same year - 1929. It is so sophisticated in its technique you'd think Lubitsch had been making sound films for ten years. His special touch was not hindered by the coming of sound - he didn't miss a step.

I saw this screened at the Bay City/Saginaw show, and although I was skeptical and even jaded about it while I was watching it, the imagery, the atmosphere, and the intensity of the subject (not to mention of the performances) provided me with my most powerful memories of the festival. Barrymore is not a dapper figure here, but his appeal and his talent for projecting smoldering fire is 100% intact. He is ably abetted by the angelic blonde, Camilla Horn, and the fiery, wildly uninhibited Mona Rico (a late silent discovery quickly forgotten, but who does turn up dancing a bit in John Carroll's ZORRO serial.) Horn is a delicate beauty suspiciously strung together with steel wire, while Rico goes some lengths to out-spitfire Lupe Velez, and does she ever wear a jacket? Rico's character is sooooo hot, that she is hardly ever seen wearing costuming that can contain her writhing, lusting, scheming torso. That she is supported in her efforts every step of the way by her mother is no vote for quality parenting, not by any stretch of the imagination, and Heaven help poor John. Poor, poor John. There is something about physical attraction in silent cinema, it can be obvious, nostril-flaring, eye-popping (or, as in the case of Miss Rico, breast-heaving) but when it's subtle, as with Barrymore and Horn, it can scorch the screen along with your eyes and imaginations. They are met subtlety for subtlety by the second male lead, handsome Victor Varconi, a fine actor often underused in the talking era, and are matched in color by Hobart Bosworth as Horn's Reverend father, and Bodil Rosing as their housekeeper. Evelyn Selbie, who portrays Mona Rico's horrible hag of a mother, seems to have had quite a career playing mothers in the Silents, and parlayed such roles into lesser talking picture assignments such as "Screaming woman" or "Immigrant woman," or "Tenement Woman."

The problem with silent films, often, is that techniques or stories that seemed innovative at the time are old-hat and clichéd by the time a modern audience sees them. While the story of "Eternal Love" falls into that category of cliché--if you can't tell what's going to happen next at any given moment, you haven't seen enough movies--it's redeemed by its sets, its performances, and its director.

Those familiar with John Barrymore from his talking-picture roles, when mostly he was playing a caricature of himself, will be taken aback at his handsome intensity (except when he's wearing too much make-up). The two female leads, Camilla Horn and Mona Rico, are beautiful as well, although of the ice-queen and the lusty peasant varieties: Horn is like a Raphael Madonna, while Rico is more of a Caravaggio.

So, Barrymore loves Horn, while Rico lusts for Barrymore--and poor Victor Varconi moons after Horn in the background. Just as Horn gets her guardian's consent to a marriage with Barrymore, however, strong drink and a willing woman trap Barrymore into a marriage with Rico. (It is somehow unsurprising that strong drink should be Barrymore's downfall.) Varconi gets to comfort the grieving Horn--but how will it all end? Well, badly.

Along the way, however, Lubitsch manages some nice comic touches--especially at a village carnivale, to which Barrymore wears a pair of checked bell-bottoms that would have been at home in Haight-Ashbury during the Summer of Love. And he gets terrific performances out of his actors, especially Varconi, who throws a wonderful sidelong glance at Barrymore during the trapped man's nuptial procession. Varconi and Horn also have some terrific moments when Horn betrays her still-burning love for Barrymore after she learns he's missing in a mountain blizzard.

The movie is short and the scenery is magnificent, so if the prospect of some big stars in their prime isn't enough, there's plenty to fall back on!

Ernst Lubitsch was one of the great masters of cinema - and his silent films are every bit as good as his talkies.

ETERNAL LOVE is one of the most passionate and moving love stories I have ever seen - with an ending that made me gasp.

John Barrymore gives one of his best ever performances here, and I now understand why he was considered such a matinee idol. Camilla Horn is also extraordinary, and possesses a rare and fragile beauty. In fact all the performances are great.

Silent films convey the passion of love so much more convincingly than most talkies. Somehow words often make this sort of intense passion comical on the screen. But here, with a divine original music score, the love is magical. Lubitsch had his "touch" in drama as much as in comedy. SEE THIS FILM!!!

Eternal Love (1929) is not the film for those who seek originality. The story of ill-fated lovers in the Alps hits every melodramatic beat, from forced marriages to scheming jealous admirers. But it makes up for this flaw with tender performances from John Barrymore and Camilla Horn, who elevate the tired story and archetypal characters to a higher place through their chemistry and yearning. They make this small-scale romantic tragedy feel almost operatic at times, and their fate will leave you sobbing by the end.

Mona Rico also gives a fine performance as the promiscuous and wild Pia, who seeks to possess Barrymore at any cost. Even though her character is unlikable and mean, she has great charisma. It is a shame she never became a star.

EL is not a great piece of cinema, but it is a sweet, skillfully made melodrama that lovers of silent film might like to check out.

Ernst Lubitsch had directed his last silent movie earlier in 1929, his May 1929's "Eternal Love." John Barrymore stars as a Swiss mountain man who lives off the land by hunting prey with his trusty rifle. He finds himself in trouble when the French army demands everyone in the city turn in their firearms. He refuses, sending its entire city's residents against him. The Hans Kraly script, adapted from Jakob Christoph Heer's novel, 'Der Korig der Bemina,' involves a love-triangle. German actress Camilla Horn pays Ciglia, who loves Marcus (Barrymore). However, the lusty Pia (Mona Rico) literally throws her body at Marcus. In a weak moment, he succumbs to her advances. This was Mona Rico's cinematic debut. The Mexican-born actress was in ten films before leaving the industry in 1941.

The storyline, despite not being a typical Lubitsch rom-com, had its advantages in production. The German director got to film in the stunning mountains of Banff National Park in Alberta, Canada, bringing home memories of his days in the Alps. As with most directors in the last year of silent movies, Lubitsch showed an extreme comfort level by photographing one of his most visually stunning features he ever made. "Eternal Love" demonstrated that cameras without the hindrance of early cumbersome sound equipment could be transported to any geographical setting to achieve eye-popping results.

Ernst Lubitsch's second to last mostly silent film (there's a dedicated soundtrack, but it's just music and some sound effects), Eternal Love doesn't hit the same peaks as his previous film, The Student Prince in Old Heidelberg, and it's more in line tonally with his historical melodramas. However, it's more successful than any of those historical melodramas, though. Stripped of the need for the explanation of larger settings and situations in the medium of silent film, the story is much smaller in scale, offering more time on character in its limited runtime.

My only major problem with the film is its first twenty minutes or so. They're kind of weird, and I suppose they sort of tie into the rest of the film thematically, but you have to squint a bit to see it. It introduces our three main characters Marcus (John Barrymore), Ciglia (Camilla Horn), and Pia (Mona Rico). In a remote mountain village in Switzerland, at a time when the country has been caught in the middle of a conflict between France and Germany, the citizens of the town must give up their arms to placate their French invaders (whom we never see). The entire town complies except Marcus who uses his gun to feed himself by killing deer. The whole dynamic between the three principle characters here is off in my mind.

First, Marcus is an independent man who is willing to defend himself and his rights even in the face of oppression. That's admirable, but the only person who seems to see that as admirable at all is Pia, the wild girl on the edges of the small society (reminding me of Pola Negi's title role in The Wildcat), who loves Marcus for who he is. The "eternal love" of the title, though, is shared between Marcus and Ciglia. Ciglia, the daughter of the preacher, considers abandoning her love of Marcus in the face of his resistance to the gun ban, and her love for Marcus is only reinforced when he does just that. There's something off about how this opening works, and it bugs me. I get what it's actually doing, though. It's showing that Marcus does love Ciglia so much that he's willing to do something against his own principles to make her happy and retain her love, but in the face of a literal invasion from an outside country, it goes beyond just bending to the will of a girl you love. It's abdication of actual duty to one's home and liberties. It's...weird. Throw in the fact that Pia loves him for who he is, for his obstinance, and it's a bit weirder still.

That's the first ten minutes or so, and the next ten minutes is a different kind of weird. It ends up feeling kind of weirdly amorphous and directionless as the occupation (which we never saw) ends and we get an extended masquerade celebration at the local tavern. There's some mistaken identity stuff as Marcus doesn't know which masked woman is Ciglia while Pia tries to attract his attention. I wonder if this had opened the film instead of the stuff about the gun might it have worked better. I'm not sure, but it feels structurally and in terms of its pacing to be an effort to introduce characters rather than just the next scene. It takes a while to play out while doing little, is what I'm saying.

However, once Marcus and Ciglia leave the party in order to take her home, the movie is finally on firm footing and never lets go. It's a shaky start (with the reappearance of Hanns Kraly in the credits as writer, I can only assume that a bit of it is his fault), but the pieces get laid nonetheless. The keys are that Marcus really loves Ciglia who really loves him back while Pia is a mischievous woman out to steal Marcus away. It all actually starts moving when Marcus stumbles into his house really drunk and finds a naked Pia on his bed (the nudity is implied, of course), and they sleep together. It was a calculated move on Pia's part, and the news quickly spreads. The irony is that Ciglia decides to remain by Marcus' side in a quiet moment where they hold hands after she figures out what's happened. It's not to last, though, since her father, Reverend Tass (Hobart Bosworth) obviously won't have the match anymore, and Marcus and Pia end up quickly married.

In an effort to get her over her sorrow, Reverend Tass arranges the match with another local man, Lorenz (Victor Varconi) who has held unrequited feelings towards Ciglia for a while. They are quickly married with Tass asking his new son-in-law if Ciglia still has thoughts for Marcus, an idea that Lorenz quickly laughs off.

Things swirl when Marcus is in the mountain when a snowstorm sweeps through. Pia is concerned for her husband, the man that offers her no love at all, and she goes from door to door begging for help. When she tells Lorenz of Marcus' situation with Ciglia off to the side, Ciglia can't help but gasp in horror at the situation which Lorenz immediately reads as him being wrong about her having let go of her old flame. The emotional stakes are clear, especially when Marcus shows up safe and sound, and we're due for a finale where the personalities, which can no longer all coexist together peacefully, clash in a final showdown. It's not a Mexican standoff, or anything, but people do die, and it's the kind of tragic ending that ends up working surprisingly well. There's the pursuit of true love in the face of societal pressure and even an embrace of much larger threats and promises from Nature and God. There are implications that feed the central idea quite well.

So, the opening twenty minutes is weird, but it sets the pieces well enough so that Lubitsch and Kraly can take their characters on a surprisingly affecting emotional journey. I suppose my only complaint from the twenty minute point on is that Pia kind of just disappears from the narrative (she becomes part of a mob and is never seen again).

Now, to try and connect the opening to the rest of the film. I think it has something to do with the idea of neutrality. Switzerland is neutral in the conflict between France and Germany, and Marcus, in his new life as Pia's husband, tries to remain neutral regarding the relationship between Ciglia and Lorenz. He doesn't interfere or involve himself. He sets himself apart, but Lorenz can't abide by it, needing Marcus to leave the area completely. His neutrality ends up being part of the downfall that engulfs him and Ciglia. That's not what actually happens to Switzerland in the opening, though. Nothing bad happens to them because they throw down their arms in the face of France's occupation (that we never see). France just leaves. The neutrality paid off. So, I sort of get it, but it's imprecise, misses the mark, and doesn't actually inform the later parts of the story.

The opening really just doesn't fit, but the rest of the film is really, really good. I wonder if simply cutting the first ten minutes completely and starting with the masquerade would actually improve the film, getting it actually started a bit earlier. You'd miss some stuff like Lorenz's unrequited appreciation of Ciglia and a couple of other things, but, on balance, I think it might be an improvement.

So, it's not The Student Prince in Old Heidelberg, but it's not Anna Boleyn or Sumurun either. Overall, I'd call it pretty good, something that ends a whole lot better than it begins, but I kind of love a good chunk of it.

Eternal Love emerged towards the end of that brief period in which silents and talkies co-existed. As every buff seems to know, the early sound features were burdened by static cameras enclosed in soundproof booths. Ironically, this was at a period when methods and uses of camera movement were just becoming refined in silent cinema, and the zippiness of these late silents looks almost like exuberant nose-thumbing at their lumbering talkie cousins.

The director here is Ernst Lubitsch, a man not often seen at the helm of a straight drama. While Lubitsch had proved himself fully capable of making sensitive pictures outside the comedy genre (see Anna Boleyn and The Student Prince) his heart doesn't seem to have been in this one. And can you blame him? This is decidedly weak material. It's not that it is romantic, but that its romance doesn't work. Barrymore's character cheats on his girlfriend, after she has pushed him away for being too forceful. Is this a sound basis for eternal love? Is Barrymore remotely sympathetic? Is Victor Varconi even such a bad catch? This dull state of affairs meanders on from one trite twist to another, until eventually God has to step in and sort it all out.

But back to Lubitsch, and back to camera movement. While a director could conceivably work to make something emotionally stirring out of this mess of a story, Lubitsch demonstrates a deliberateness and snappiness that would be better suited to comedy. In other words there are a lot of rather obvious camera moves which make you practically aware of the director saying "Here, come and look at this". A romantic picture really needs a lighter touch, allowing us to be enveloped in the story and forget that we are watching a work of artifice. Some of Lubitsch's slow dolly shots away from the action are quite smooth and pretty, but they really add nothing and distract from what is going on in the scene. What grace the picture has is derived mainly from the outstanding cinematography of Oscar-winner Charles Rosher, which shrouds the depths of interiors in gloom and shows up the actors in sharp detail. Rosher reverses the pattern in the final scenes, where the crowd of people become silhouettes against the white of the snow.

For an unsubtle directorial style, we have a suitably unsubtle lead man. Barrymore hams it up as usual, and is really totally inappropriate for the role. Even when he squeezes out a tear it is hard to accept him as the tragic lover. Mind you Camilla Horn, who was disappointing in Faust, is excellent here, sinking into forlornness but maintaining her character's dignity. Also great is Victor Varconi, one of the more subtle and sensitive players of the silent era. The little-known Mona Rico is however just as hammy as Barrymore, and in fact performance-wise Rico and Barrymore make a more suited couple, as do Horn and Varconi! While many of these late silents play like a bittersweet swansong for a doomed medium, mediocrities like this are an embarrassment, and simply cry out for the ushering in of the talkies.

Throughout his directorial career, Ernst Lubitsch directed an assortment of movies, and his style led to the expression "the Lubitsch touch". He is best known for movies like "Ninotchka", but one of his earlier ones is 1929's "Eternal Love", about a pair of lovers in 1800s Switzerland who are trapped in loveless marriages.

What really struck me about the movie is the beginning. It starts during the Napoleonic Wars. Switzerland, as always, wants to be neutral. Sure enough, the alpine confederation becomes a pawn in the battle between the French and Austrian armies. If Switzerland is left unprotected, then these two lovers are especially vulnerable in Napoleon's quest to dominate Europe.

But ignoring that, this has to be one of the steamiest movies of the 1920s. One of the last movies of the silent era - excluding Charlie Chaplin's "City Lights" and "Modern Times" - it lets the cast act through their expressions. We should thank our lucky stars that the movie, thought lost for decades, is now available for home viewing. This is the perfect mixture of subtlety and profundity. Definitely see it if you want to see a prime example of all that cinema can be.

Eternal Love (1929)

** 1/2 (out of 4)

A strong cast saves this melodrama from pretty much killing itself. Set in Switzerland, the rebel Marcus (John Barrymore) would do anything for the woman (Camilla Horn) he loves but in a drunken state he sleeps with another. The Reverend makes Marcus marry this woman, which might be the end of his relationship with his true love but soon fate steps in. This later day silent isn't nearly as bad as one might think but there's no question that the screenplay goes overboard on the melodrama and the questionable ending almost kills things. I think fans of the stars as well as the director will want to check this film out but it's questionable what impact it will have on them. We'll start with Barrymore but he once again turns in a very strong performance and you can't help but feel that he is this character. I thought he handled the more athletic aspects of the film quite well and he certainly knows how to milk every ounce of drama out of a scene. Just check out his eyes during the scene where he's forced to marry the woman he doesn't love. Horn is also very good in her role as she perfectly captures the innocence of her character and Mona Rico is pitch-perfect as the "other" woman with the more sexual nature. Speaking of sex, this film offers quite a bit of stuff that would certainly not be film-able in upcoming years including the sexual act while Barrymore is drunk off his mind. We even have the two married people coming together towards the end, which is yet another act that would have been looked down on. Lubitsch's direction handles everything fairly well but what really impressed me were the visuals. There are several tracking shots that look incredibly good including one where we follow Barrymore walking through the mountains. The performances and direction make this worth sitting through but I'm sure many will be howling at the ending. The silent film was released with a Movie Tone track, which includes the music as well as several sound effects including wind gusts, knocking, gun shots and a few other things.

Has anyone ever wondered how long does love last? Some say three years, some say there isn't such thing at all, and some others say it is eternal... I agree on the last.

"Eternal love" was directed by wonderful Ernst Lubitsch and stars the great John Barrymore. It is a silent movie but the story itself draws so much meaning and compassion that you don't actually need the intertitles to understand what's going on. Almost the whole time while watching I caught myself talking to myself the lines that actors could have said at this and that moment. One of the main reasons I love silent movies is that they leave SO much space for imagination and make you think even more than after having watched a sound one.

"Eternal love" might not have been an immediate success or a turning point for either Lubitsch or Barrymore in their respective careers but it is a solid and an amazing movie for me. Once you loved someone you can never be the same after that; destiny could bring you surprises and misfortunes along the way but in the end it's the person you end up with that matters. It's the feeling that counts.

This movie showed me yet again a remarkable talent of John Barrymore. His performance is a highlight; he surely can make you feel what his character is feeling and by the end of the movie you are left with a piece of his work in you. That's what great movies do.

Ernst Lubitsch is remembered today as "the man with the golden touch". His droll and witty comedies of the sexes from the 30's and 40's such as THE SHOP AROUND THE CORNER and TO BE OR NOT TO BE certainly deserve their place in movie history. So do his silent films which thanks to present day technology are being made available to new generations of film lovers. MGM released one of his best known silent films THE STUDENT PRINCE IN OLD HEIDELBERG (1927) back in 1991. Image Entertainment released THE MARRIAGE CIRCLE (1924) in 2000. Now Milestone Films have released ETERNAL LOVE on DVD.

Made at the end of the silent era (1929) with music and sound effects discs, the film has been beautifully restored with original materials by the UCLA Film and Television Archive. I was surprised not only at its beauty but also by the power of its simple story. Ill-fated love stories have been around forever but here I found it unexpectedly moving. It takes place in a village in Switzerland (it was filmed in the Canadian Rockies) and deals with love, individuality, honor, and small town morality. The ending, though expected, was still very effective.

John Barrymore, while giving power and dignity to his character, is guilty of chewing the scenery from time to time. I was also quite surprised by the heavy makeup he used in the first half of the film. Camilla Horn, who was Gretchen in F. W. Murnau's FAUST, makes a beautiful and believable heroine. The supporting roles were well acted with Mexican actress Mona Rico as the "bad girl" a real standout. While ETERNAL LOVE is no masterpiece, it is well made by master craftsman Lubitsch who says farewell to the silent era in style...For more reviews visit The Capsule Critic.