One Arabian Night

Today, in the UK at least, the word "pantomime" means songs, dances, dames, villains to be booed, out of work actors, "He's behind you", and generally a good time to be had by all. It has developed out of longstanding traditions of popular theatre common throughout Europe, known at one point as "low opera". Sumurun, a German pantomime with which renowned theatre producer Max Reinhardt had great success in the mid-1910s, is not a familiar story, but the wild and wonderful tone with which it is played bears some similarities to how we understand the genre today.

Funnily enough, in the US the term pantomime is often used as synonym for "mime", in the Marcel Marceau sense, and indeed highly expressive acting in silent cinema is often referred to as "pantomime". Looking at the film version of Sumurun, it seems this is perhaps not entirely coincidental. Like the majority of Ernst Lubitsch pictures from this period, it takes place in a gloriously hammy world where actors grimace and gesticulate with shameless glee. Thank goodness for Lubitsch's sense of humour. By peppering Sumurun with touches of his absurd genius, he prevents it from being over-earnest and unintentionally funny. The Lubitsch style of comedy is nowhere near as pronounced as it was in all-out farces such as The Oyster Princess or The Wildcat, but it serves to soften the silliness of the melodrama with which it coexists. The comedy and melodrama do not interfere with each other, because the situations in themselves are not funny. Instead there is a line drawn between serious characters, and characters who exist purely to be comical. Incidentally, the occasional moments where the line blurs and the comedy figures get swept into the tragedy are among the most poignant I have seen in all of Lubitsch's work.

You see, Lubitsch was not just a master of screen comedy, he was a real craftsman of screen drama. Integral to Sumurun is his use of movement in depth. From the opening shot of a caravan approaching us from out of the desert, virtually all the motion is towards the camera. Often when characters look at each other, we are shown reverse angles in which they are virtually staring into the lens. It's almost a kind of audience participation (think pantomimes again!), in that we are made to feel we share the space of the film's world rather than that we look in on it. Conversely however Lubitsch sometimes frames the more dramatic events deep in the background, giving us a kind of panicky feel of separation. At this moment we should take time to consider the exquisite and elaborate set design of Kurt Richter, which here establishes contrasting tones for the different environments – a stark and barren outdoors, the squalid clutter of the poor district, and the rich opulence of the palace.

This was the last appearance of Lubitsch himself as an actor, and one of the few examples of his acting that is easily available today. His eccentric performance lies at the hammy heart of Sumurun. It is a very Germanic style of theatrical comic acting, exaggerated to the point of being almost grotesque, but something great fun to watch in the right kind of setting, as those familiar with the best of Emil Jannings or Rudolph Klein-Rogge will know. However Lubitsch is outshone by his opposite number, the old hag played by Margarete Kupfer, who is again very overstated but in a manner that is entertaining, especially in her lurching drunk act. Paul Wegener is marvellous as the old sheikh, treading the line between pomposity and genuine menace, and thus very much in tune with the picture as a whole. Finally an honourable mention goes to the handful of black supporting actors, who appear in a number of Lubitsch pictures and whose names I have never been able to find. None of these guys especially stands out, but they are all clearly adept at the Lubitsch comedy form of sudden reactions and surprise expressions.

Sumurun is not without its detractors. True, the complexity of the interwoven subplots, the fast-paced editing and the lack of intertitles make it a little hard to follow. Also I accept that the acting styles may seem a little inappropriate and jarring to some. But I also feel that those who would demand comprehensibility or naturalism from a picture like this are really missing the point. You need to buy into the sweeping melodramatics and theatrical slapstick, and simply let it all wash over you without taking any of it too seriously. In fact, people who don't like Sumurun are probably the same sort of people who would not enjoy shouting "Oh no it isn't!" at a bunch of out-of-work actors in tights. Pantomime: A distinct art form that must be accepted it for what it is.

SUMURUN proves that German films during the post-WWI era were as beautiful as American films. This film features tons of elaborate sets, lots and lots of costumed extras and a large scope. You can certainly see that this was a high-cost production. In that sense, the film really looks nice.

However, when it came to the story, I was curiously bored by the whole thing, as the film was, at times, stagy. I just didn't find the characters that interesting and unlike later films by director Ernst Lubitsch, this one lacked that "Lubitsch touch"--the artistry and brilliance in the interactions of the cast.

I also was left a bit cold by many of the performances. Lubitsch himself starred in the film in the male lead and he was practically lost under all the fake hair and costuming. It was not one of his best or sympathetic parts--and you can't see much of his comedic prowess. Ultra-famous Pola Negri plays a part that is pretty dull as well--she plays an alluring dancer. This is the type of role in which she excelled in the 1920s, but today you can't understand the sort of sex appeal she was supposed to have. She dances, gyrates and acts coy--but that's about all.

Overall, it's a nice film to look at but that's really about all.

Disappointing. The chief problem, as Lubitsch was quick to acknowledge, is Lubitsch. His exaggerated, hammy acting is one that Lubitsch the director would never have permitted any of his players. In fact, he was so unhappy with his over-the-top histrionics that he vowed never to act again.

Admittedly, there are a few other major faults. All the characters are one-dimensional and the story tends to drag, especially in the comedy relief sequences provided by camera-hoggers Kronert and Graetz, who are just awful. Margarete Kupfer's repulsive old hag is also over- indulged.

On the other hand, the film does provide an almost equal number of pleasures. not only in its exotic sets and cinematography, but in the alluring presence of Pola Negri, who receives excellent support from Paul Wegener who cleverly underplays his ruthless, self-indulgent sheik and thus makes him a really terrifying figure.

And for lessons in how to play comic relief with style, I nominate Jakob Tiedtke and Paul Biensfeldt, who both do amusing wonders with seemingly impossible characters. A slave trader, a comic figure? But that's how Biensfeldt plays this despicable little heap of slime-- and it works!

This film is now available on a somewhat odd Alpha Video DVD. Someone has gone to a great deal of trouble to replace the original (presumably German) inter-titles. These new English titles look very swanky indeed, but unfortunately they make the movie itself look just awful, thanks to its rather muddy and extremely well-worn print.

In the Orient, a troupe arrives in a village and the hunchback Yeggar (Ernst Lubitsch) is in love with the dancer Yannaia (Pola Negri), who is desired by every men. However, Yannaia has been invited by the slave trader Achmed (Paul Biensfeldt) and is enthusiastic to join the harem of the cruel and tyrannical Old Sheik (Paul Wegener). But when the Young Sheik (Carl Clewing) sees Yannaia, he also desires her and allows the troupe to exhibit in the streets of his village.

Meanwhile, the favorite concubine of the Old Sheik, Sumurun (Jenny Hasseqvist), and the cloth merchant Nur-al Din (Harry Liedtke) are in love with each other. However, the Old Sheik mistakenly believes that the Young Sheik desires her and he decides to punish Sumurun. However, the harem decides to help her to be with her beloved Nur-al Din.

"Sumurun" is one Arabian Night tale divided in six acts with a story of passion, desire, love and jealousy. The story blends drama and romance and fans like me of silent movies will certainly enjoy this film like I did. My vote is seven.

Title (Brazil): "Sumurun"

While few of Ernst Lubitsch's very early films (so the German silents) are quintessential Lubitsch, they are still well worth watching. Especially 'The Doll' and 'The Oyster Princess'. For quintessential Lubitsch as an overall whole though, look no further than the likes of 'Trouble in Paradise', 'Heaven Can Wait', 'To Be or Not to Be' and 'The Shop Around the Corner', where his unmistakable "Lubitsch Touch" style had fully emerged and at its best whereas it was not yet properly found in his silent films.

'Sumurun' is no exception to this. It is very well made, entertaining and among the high middle of Lubitsch's early efforts, though also rather odd and do agree that it is a little cold emotionally. It is worth the look if one is a fan of this great director and to see Pola Negri in her prime. But one may want to look elsewhere if they want to see a film easier to invest in, more tonally consistent and more subtle, as well as if one wants to see what the fuss with "the Lubitsch touch" is about.

It certainly looks great. The sets especially are spectacular even and the costumes are wonderfully exotic. The photography is neither too static or overblown, the story is opened up enough while not being swamped. The music is a good fit and that it was scored for few instruments worked in its favour, maybe some may have wanted a grander approach but as for me it was great that it wasn't overscored or too constant.

Furthermore, 'Sumurun' is often very amusing, silly but the humorous elements tend to be well-timed and fun. The story goes at an energetic pace and doesn't feel dull. Lubitsch had not properly found his style yet by this film but one can tell that he was engaged with the material and having fun with it. Negri is a very likeable and sultry lead, and seemed to have fun.

That is not to say that 'Sumurun' is perfect as it isn't. Will agree with those that felt that it was on the bland side, and if it allowed us to care for the characters a lot more (only a couple endear really) and simplified the storytelling a little more that would have made things better.

With the humour, it's always amusing but the more farcical moments felt a touch repetitive and most of the cast overplay their parts with a lot of exaggerated gestures going on.

Overall, good fun but not great. Lubitsch went on to much better things. 7/10