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de Mille, Miriam once again performed magnificently. In Two Kinds of Women (1932) directed by William C. The film was unexpectedly strong and enjoyable which served as a catalyst to propel Miriam and Raft to bigger stardom. Later, she appeared in Dancers in the Dark (1932) with George Raft. Miriam began filming World and the Flesh (1932) which was not a box-office blockbuster. She was to finish out the year by playing Ivy Pearson in Dr. Still considered a newcomer, Miriam displayed a talent that had all the earmarks of stardom. After appearing in 24 Hours (1931), where she is killed by her husband, Miriam played Princess Anna in The Smiling Lieutenant (1931) opposite Maurice Chevalier. The role, where Miriam played a rebellious girl, was a good start. Her first role was in Fast and Loose (1930). Since she was already established on Broadway, Paramount felt they were getting a seasoned performer after the rave reviews she had received on Broadway. In 1930, Miriam decided to try the silver screen and signed with Paramount Studios. She appeared in local musicals before she began expanding her horizons by trying out dramatic roles four years later.īy 1928, Miriam was appearing in stock companies on the East Coast and her reviews were getting better after having been vilified earlier in her career. Studying dance in New York, she received her first taste of show business as a chorus girl at twenty. Early in 1947, shortly before his death from a heart attack, Lubitsch was awarded a lifetime achievement Oscar, recognizing his “twenty-five-year contribution to motion pictures.Died Octoin New York City, New York, USA (heart attack)īorn into wealth in Savannah,Georgia on October 18, 1902, Ellen Miriam Hopkins was able to attend the finest educational institutions including Goddard Seminary in Plainfield, Vermont and Syracuse University in New York State. He would continue to craft more studio smashes, however, for MGM and 20th Century-Fox, many of which are still beloved today, including Ninotchka (1939), To Be or Not to Be (1942), and Heaven Can Wait (1943). So great was Lubitsch’s success that in 1935 he was named head of production at Paramount, though he held that position for only one year. An adept of sparkling dialogue and naughty innuendo, Lubitsch flourished particularly in the pre-Hays-code Hollywood era-his continental romantic comedies and fanciful period pieces were flush with sexual repartee such glittering confections as Trouble in Paradise (1932), Design for Living (1933), and The Merry Widow (1934) were perfect escapes for the beleaguered audiences of the Great Depression.
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On the basis of movies like The Marriage Circle (1924) and Lady Windermere’s Fan (1925), Lubitsch earned a reputation in America as a hit-maker, and unlike many of his peers, he took to the transition to sound like a duck to water, pioneering the narrative movie musical with such Maurice Chevalier vehicles as The Love Parade (1929) and The Smiling Lieutenant (1931), in which he indulged his fondness for Viennese operettas. The international success of some of those films, such as Carmen (1918) and Madame du Barry (1919), led American film superstar Mary Pickford to invite him to Hollywood. After starting out as a performer in Max Reinhardt’s fabled theater company, Lubitsch went on to star in silent slapsticks for Berlin’s Bioscop film studio (he became well-known as the comic character Meyer), eventually writing and directing his own movies and becoming part of the legendary UFA studio. Born January 28, 1892, in Berlin, this clothing manufacturer’s son left the family firm for a life in show business. The ineffable style the term attempts to capture was with Lubitsch from his cinematic beginnings in Berlin to his early days in the American studio system and his final years as a Hollywood stalwart. It’s difficult to put into words exactly what is meant by “the Lubitsch touch.” It alludes to the director’s delicate hand, effervescent humor, and economy with words and images.