The Shop Around the Corner, Ernst Lubitsch’s timeless 1940 romantic comedy, has grown old with grace over its 70 years; occasionally a great film will age like a rare bottle of Tokaji…
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| Balta St., Budapest |
Director Lubitsch, known for his mythical “touch” and at the height of his artistry in 1940, seems to have taken special care with
The Shop Around the Corner. It was one of his favorites of own films and he wrote, “Never did I make a picture in which the atmosphere and the characters were truer…” The atmosphere is unmistakable...from the first strains of “Ochi Tchornya” heard over Leo the Lion’s roar, to the dreamlike locale near Budapest’s historic Andrassy Street, to each of the film’s distinctive characters, the spirit of old Europe is alive on screen.
Set during Christmastime in the snow-sprinkled capital, the story follows a series of mix-ups and missteps among employees of a picturesque gift shop in the heart of the city. Two clerks carry on a battle-of-the-sexes while romantically pursuing anonymous pen pals; the genial store owner suspects betrayal at home and at work; a duplicitous clerk is into ugly mischief and a wisecracking errand boy aspires to move up in the world…
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| Matuschek's gift shop |
Samson Raphaelson (
Suspicion,
Green Dolphin Street) penned a screenplay based on Nikolaus (Miklós) László’s play; William H. Daniels (
The Naked City,
Cat on a Hot Tin Roof) was cinematographer and Werner Heymann (
Ninotchka,
To Be or Not to Be) wrote the score.
The ensemble cast includes several of MGM’s top supporting players. Among them is Frank Morgan in one of his most interesting roles as Mr. Matuschek, the colorful charmer who owns the gift shop. A dark turn in the subplot concerning Matuschek gives Morgan an opportunity to portray affecting pathos.
Venerable Felix Bressart plays the meek/endearing clerk, Pirovich (shown in the scene below). Versatile Joseph Schildkraut defines ‘loathsome’ as Vadas. Also in the featured cast are Sara Haden, William Tracy and Inez Courtney.
The stars, James Stewart and Margaret Sullavan, shared a legendary chemistry on film and it is never more apparent than in
The Shop Around the Corner. Stewart is at his most appealing as Mr. Kralik, head clerk and right hand man to Mr. Matuschek. In this role, Stewart's broad signature mannerisms are tempered by the sensitivity with which he plays Kralik's romantic yearnings. But it is Sullavan's performance that astonishes. Her Klara Novak, an idealistic but difficult shop girl blinded by lofty dreams, exudes breathless eagerness, brittle fragility, willfulness and so much more. Sullavan’s amazing voice, her eyes, her facial expressions and physical movements - all are musical.
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| Margaret Sullavan |
Margaret Sullavan was discovered on Broadway by director
John M. Stahl (
Leave Her to Heaven) who brought her to Hollywood to star in
Only Yesterday (1933) with John Boles. By this time Sullavan had already married and divorced Henry Fonda and would soon marry director William Wyler. By 1936 the actress was married to agent/producer Leland Hayward and about to make her best films:
Three Comrades (1938), which garnered Sullavan a Best Actress Oscar nomination,
The Shopworn Angel (1938),
The Shop Around the Corner (1940) and
The Mortal Storm (1940). In the last three she co-starred with James Stewart. The pair had first worked together on
Next Time We Love (1936), a result of Sullavan suggesting her old friend Stewart for the part. In
The Shop Around the Corner, the third of the their four collaborations, the co-stars seem to practically dance their scenes together, such is the rhythm between them.
With the closing sequences of
The Shop Around the Corner, Lubitsch demonstrates his consummate finesse…
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| Frank Morgan and Charles Smith |
Mr. Matuschek returns to his store on Christmas Eve to total the day’s receipts, thank his staff and hand out bonuses. It is closing time and as the wistful shopkeeper departs, he says goodnight to, and we have a last glimpse of, most of the others as they leave to celebrate the holidays.
When new young employee Rudy (Charles Smith) emerges, Matuschek takes him under his wing and out to a glorious Christmas dinner of roast goose, potatoes in butter…and “a double order of apple strudel in vanilla sauce.” The two, no longer alone on Christmas Eve, strike up a joyful camaraderie.
Inside the darkened shop, Stewart and Sullavan move in perfect harmony as Kralik and Klara finally connect with each other. This last scene, one of the most deeply romantic and witty ever confected, contains the distilled essence of Lubitsch’s “touch.”
A litter of beautiful Collie puppies is running around and playing in a forest that borders on a lake. They are fearless and happy and occasionally kept in place by their mother. A boat arrives, driven by Frank Morgan, and collects the mother and pups, taking them away with him, except for one who has gone off on an adventure of his own. We follow this little guy as he plays with other animals and then realizes he has been away from his pack for a long time. We share his angst as he realizes they are traveling far away on the boat and he cannot get to them. This begins to instill the courage that the pup will need to survive. 
Courage of Lassie was the second of three Lassie films helmed by Fred M. Wilcox. It is fascinating in that it is truly a dog's tale, as opposed to being a story that focuses on people who happen to have a dog. This work introduces us to a remarkable pup who ends up being tried in court. Wilcox had a gift for focusing on the visual aspect of film. The opening scene is devoid of people and dialogue for several minutes until Morgan arrives. Then the dialogue ceases again until the pup has grown over a few months, is almost drowned, and is shot by two boys. This is when the Collie meets a lovely young girl named Kathie, Elizabeth Taylor in her second Lassie film, who nurses him, loves him dearly, and names him Bill. Kathie's family is hard working and she trains Bill to herd the family's sheep. 
