The Wildcat

Viewing "The Wildcat," is like watching a live action Max Fleischer cartoon. Like those early animated wonders, this comedy is full of goofy characters and creative direction. The cast, especially Pola Negri and Paul Heidemann show no fear in bringing Lubitsch's wild vision to life, which include some truly laugh out loud moments. While the Fleischer cartoons are only around seven minutes long, "The Wildcat," struggles at times to maintain its energy for a feature length film. The pros of this movie far out weigh the cons, though, and if you're looking for a non-traditional silent film that will put a smile upon your face, then you need to search no further.

In the snowy Bavarian Alps, the arrival of preening soldier Paul Heidemann (as Alexis) causes pandemonium in a military town. Thousands of women surround him, foreshadowing the attention given Rudolph Valentino and The Beatles. Not participating in the initial adulation is spirited mountain girl Pola Negri (as Rischka). A regular wildcat, Ms. Negri is introduced in a scene which shows her driving men crazy by whipping their buttocks. The men rub their rumps and complain, but return for more attention. After some kissing, Negri sees Mr. Heidemann's coach and throws a snowball at him. When he gets out and she sees his plump heinie, they get romantic...

Released when Negri and director Ernst Lubitsch were international favorites, "Die Bergkatze" was not a favorite with audiences. It's a farcical comedy inhibited by Mr. Lubitsch's relentless parody of an old film staple known as the "iris shot". This is when the screen, usually to close a scene, will turn black for a diminishing circle. In the theater, the look was achieved with lightning. Filmmakers were experimenting with the visual and Lubitsch employs it all over this film, and in a variety of shapes...

A decade earlier, there was a debate about whether motion pictures should use the "close-up shot" because some felt the audience would feel like they were denied a full look at the performer (as on the stage). With a "close-up" you still get the full look; with the "iris shot", you do not. In this film, the visual is excessive and distracting. We're denied full-screen looks at the film's chief strength, its beautiful set decoration. Another feature, the "double exposure", nicely introduces Act IV "Rischka's Dream". Usually cast as a seductress, Negri is most engaging as a comedienne. The available print looks great and is accompanied by a new, oppressive soundtrack.

***** Die Bergkatze (4/14/21) Ernst Lubitsch ~ Pola Negri, Paul Heidemann, Victor Janson, Wilhelm Diegelmann

"The Wildcat" is an amusing romantic comedy made by Ernst Lubitsch, although more farcical than his later American work, but which was common of his German comedies. It wouldn't be long before the director emigrated to the US, and his increased stature in the business by this time is evidenced by the expensiveness of the sets and the more polished filmmaking in this film compared to his earlier comedies. The castle fortress set and its art deco décor look very nice, as does the outdoor scenery of the Bavarian mountains. The long staircase featured during an impromptu chase scene is especially impressive. One criticism of the film, however, could be that the settings sometimes dwarf the actions of the characters and narrative. Additionally, as Kristen Thompson ("Herr Lubitsch Goes to Hollywood") could point out, the standard, flat V-pattern lighting of German film-making back then doesn't do well to distinguish, or spotlight, the characters from the settings. Reportedly, this was one of Lubitsch's least successful films, which probably encouraged him to discontinue this brand of comedy that he had heretofore found so fruitful.

There are very many masked framings of shots (circular, rectangular, ovals, irises, masks shaping the image inside of what look like fangs and snowballs, etc.). Another reviewer suggested Lubitsch was poking fun at D.W. Griffith and his cinematographer Billy Bitzer, who, indeed, employed iris shots and various masking effects frequently, but, otherwise, I don't see much function for their use in "The Wildcat". The masks for point-of-view looks through keyholes and binoculars, of course, have an obvious function, and the rest, I suppose, works to establish the spectator's point-of-view, but, overall, the framings here seem too distracting and gimmicky.

Nevertheless, the picture features plenty of pleasant nonsense amusement, with some funny moments scattered about, even if the humor is often broad. Scenes such as the crowd of women gushing over the departing Casanova-like Lieutenant, including goodbyes from his many children, or the stream of tears gag are especially comical. What little there is of a story and plot take a back seat. And, I think Pola Negri is more appealing here as an uninhibited mountain bandit than she is in some of her more melodramatic roles.

What a remarkable film! Within minutes one immediately gets the impression that if 'The wildcat' were made in the modern era, it would be a bombastic, proverbial Technicolor nightmare of a farce. Though there's no color or sound here, Ernst Lubitsch's feature is no less of a spectacle of frivolity. The consideration given to hair, makeup - and even more so imaginative costume design, and stupendous set design and decoration - is only of the utmost playful grandiosity, fetching sights by all accounts and nigh fantastical. This rather goes as well for the framing of each scene, as most of the footage presents to us through cut-outs of wildly varying shape and size. And so it is down the line, including sharp editing: from start to finish, this movie is filled a jovial air of comedy on par with the most robust nonsense of silent stars like Buster Keaton, Harold Lloyd, or Charlie Chaplin. And it's so much fun!

In his direction, and in his screenplay co-written with Hanns Kräly, Lubitsch has a mind for lighthearted silliness that makes the picture a true joy to behold. This is reflected in the (reconstructed) intertitles, the characters, the writing and orchestration of each scene, the overall narrative, and in the guidance of the cast. There are some familiar themes at the core of the story, yet every element is marked with such a sense of caricature and exaggeration as to ensure that no one steps away from 'The wildcat' without having a good time. The assembled actors lean wholeheartedly into that slant, each giving performances of strong physicality and personality - with body language and facial expression heightened well beyond even what is characteristic of the silent era. The nearest approximation that readily comes to mind is in the most enthusiastically madcap moments of 2001 musical 'Moulin Rouge!' - but even that comparison fails to wholly account for the charming gaiety on hand. I'm loathe to single out only one or two figures, but it must be said that Pola Negri is fabulous, a marvel as untamed Rischka - stealing the spotlight with her every appearance on the screen. Only just shy of Negri's terrific display, Paul Heidemann's performance as Lieutenant Alexis is a slick show of flippant impertinence that's gratifying to witness.

Among other things, the movie is built on physical comedy, sight gags, satirical foolishness, and turnabout and upended expectations. Through it all we're treated to a veritable feast of visual bedazzlement, not just in the arrangement of scenes and the fastidious work of the crew but also in the very filming locations. This is nothing if not a labor of the greatest passion and care, and love for film-making; all due commendations as well to composer Marco Dalpane and the Ensemble Playground, whose contemporary score is a wonderful match for the feature. In all sincerity, I find it hard to believe that 'The wild cat' isn't more well known in the years since, alongside those select few silent titles that are most memorably acclaimed: I think this easily stands shoulder to shoulder with the very best of early cinema, as a comedy but also on its own merits broadly. It's clear how much hard work went into the production, and the result speaks for itself as an outstanding, highly enjoyable romp that easily holds up and entertains even 100 years later. So heartily carefree and mirthful is this feature that I'd have no qualms recommending it even to viewers who generally have difficulty abiding titles of the era. Hats off to Lubitsch and all involved: Wherever you can watch it, 'The wildcat' lives up to its name as a rowdy ride of rollicking wit and good cheer - and gets my highest recommendation!

While there are not many personal favourites from Ernst Lubitsch early German silent films, done before he had found his signature style, there were certainly gems. 'The Doll' and 'The Oyster Princess' being two examples. The late 1910s-early 20s was a very interesting and worthwhile period in Lubitsch's career, especially to see how he fared early on in his career before properly finding his style with 'The Love Parade' and got even stronger from there.

'The Wild Cat' is another film from the German silent film period and lives up to its wild name all right. Is it one of Lubitsch's very best? No, nowhere close and it is a long way from being a classic. But it is one of the better and more entertaining films of his from his German silent film period in my view, and if asked whether it is recommended my answer would be yes as long as you know what to expect. Which is an entertaining and inoffensive ride but not yet the witty and sophisticated Lubitsch that he became very well known justifiably for.

Admittedly, 'The Wild Cat's' story is very thin, and it is also one that doesn't have a lot of substance and can be a little too controlled in spots.

Maybe it could have done with a little more variety in places.

However, 'The Wild Cat' is well made visually. Really loved the mountain scenery and exteriors and the photography is not claustrophobic or gimmicky, some of it came over as quite elegant to me. Lubitsch's direction is not refined yet, but he clearly seemed to know what he was doing and didn't seem uncomfortable with it. The music is unobtrusive and is not large in scoring or over-complicated rhythmically, allowing the comedy to speak.

Something that does very much happen here. The humour is plenty and it is never less than amusing and actually even very funny at its best (if one disagrees that's fine). It is of the broad kind, not the sophisticated and witty kind that Lubitsch later would be famous for, but not in a way that gets overly silly or vulgar. The situations do suspend a bit of disbelief but have a wild energy about them and don't resort heavily in repetition, while the energy is always there and the characters didn't come over as dull or annoying here. The cast do very well, with Pola Negri handling her very physical comedy with ease and her comic timing is far from flabby.

All in all, very enjoyable if not a Lubitsch essential. 8/10