Ninotchka, the classic 1939 film directed

by Ernest Lubitsch

Image Courtesy of "Greatest Films"

This paper overviews critiques of the film from 1939, offers a social

commentary on the film, and finally, presents a critique

of the film from a modern perspective

Ninotchka Critiqued:  1939

            Ninotchka, the enduring Ernst Lubitsch comedy, released in late 1939, was generally lauded by the community of critics at that time.  So many highly regarded talents of the day had a part in this production it would have been very unlikely to have been savaged by the critics to any great extent.  Lubitsch, one of the slickest producers of the day, was a darling of the industry.  Billy Wilder, a great producer in his own right, had a brilliant command of language, and any script he touched was sure to have some element of quality to it, if not genius.  And Greta Garbo, after incredible performances such as that in Anna Kerina and Camille, had been absent for nearly two years.  By then, she could almost do no wrong in the eyes most critics, and her performance in Ninotchka was greatly anticipated.  Even so, the reviews ranged from "exquisite" to "disappointing."  The film was heralded by some for its brilliance and picked apart by others for its deficiencies.

            Perhaps, the most notable aspect of the film, unmistakable to all the critics, was the unique role of Garbo as comedienne.  In this regard, Newsweek, not know for social commentary of any real depth, gave great kudos to Garbo for her "highly successful transition from dramatics to sophisticated comedy."  As well, Newsweek noted that the casting "scores a point for communism," in its choice of Garbo for the roll of "Comrade and Commissar," Ninotchka.  However, it is one of the very few high points for Bolshevism, as the film otherwise is rather unmerciful towards communism, according to the Newsweek critic.  And although this critic gave Lubitsch the typical acclaim for the "subtle innuendo" and "touches," by then Lubitsch trademarks, he nonetheless diminished the film in the review for its inclusion of the "low-comedy" trio of envoys (sent to France in the film to hawk jewels for needed hard currency), and other "lampooning" that he considered near farce.

            Otis Ferguson, standard bearer of The New Republic, likewise, is unimpressed by the film's inclusion of the three envoys, he thought "a bit too simple to be sent on a foreign mission."  Moreover, Ferguson believed the "Lubitsch touch" was but a phrase used by amateur critics, and he was less pained than most to point out Lubitsch's flaws.  He conceded, however, that whatever this Lubitsch touch may be, "he hasn't lost it."  So, though Ninotchka "strikes a wrong note occasionally," overall it is "partly true and possibly beautiful."  Ferguson praised Lubitsch for his courage in casting Garbo, who he considered the life of the film, in a light comedy.  Enamored by her true beauty, Ferguson would have her in plain Communist garb over the "creations" she wore in the latter half of the film, as "a real and commanding beauty is clearest without clutter--all you need on the outside is a stretch of burlap and a bath."

            Certainly a notable quote when considering a talent such as Garbo.  But the film was more to Ferguson than just Garbo.  He considered it the first ever film to discover that "Communist are people," and have a place as such in films.  He termed the film's dry points on modern life "exquisite," such as a solemn May Day parade depicting marchers with posters of old Uncle Joe.  It is the Lubitsch treatment of Communism, however, that struck a sour note with Nation's notable Austrian writer and film critic, Franz Hoellering.  Although lulled into a pleasant entertainment by the film, Hoellering was "annoyed by the whole" of it.  That the millions who would see the film and are "impressed by its technical expertness and sophistication," will nonetheless be "effectively taught that Communist are low people," was particularly displeasing to him.  So much so he termed the story as "thin" and "stupid."  Certainly no Lubitsch apologist, Hoellering goes on to attack what he sees as the films misdirected use of satire.  He concluded that "Lubitsch and his scribblers" often for the sake of laughs, "ridicule higher aspiration and efforts." 

            Hoellering was equally distressed by the films overall message that the trappings of capitalism, namely champagne and baubles, are what people should strive for.  So, whatever political beliefs Hoellering may have maintained, he was certainly not taken in by the political satire of Ninotchka.  Nor was he impressed with Garbo's work as comedienne.  Although, even he had to admit she was a great actress.  It would appear Hoellering did not like the film.  Well, he was in good company.  Stalin wouldn't like it either.  At least that is what New York Times critic Frank S. Nugent proclaimed.  But that certainly did not stop Nugent from enjoying it immensely.  No matter that the old totalitarian leader himself would have been appalled at the film, Nugent took great pleasure in "M-G-M getting a laugh out of Garbo at the U.S.S.R.'s expense." 

            Admitting that "Mr. Lubitsch hasn't been entirely honest," in his treatment of the Soviet faithful, Nugent points out that humorist do not necessarily have to be honest.  At least not in a strict sense.  So impressed by the film is Nugent, he laments that he cannot begin to do it justice in the space allotted in his column.  For Nugent, like so many, had been taken in, perhaps rightly so, by the talent of Lubitsch, Garbo and the lot.  He almost wished Garbo would "handle a scene badly once in a while just to provide us with an opportunity to show we are not a member of a fan club."  Nugent was also impressed with the often overlooked and "debonair" performance (it was easy to overlook any actor opposite Garbo) of Douglas.  Overall, Nugent truly thought the film, through the "cleverly written" script, had "come of brilliantly."  However, he concluded, and rightly so, "Stalin, we repeat, won't like it."           

Ninotchka as a Social Commentary

            Ninotchka was filmed in extraordinary times, not only for America, but the entire world as well.  When it was released in 1939, America and much of the world had by no means emerged from the Great Depression.  The depression was a crushing blow to the livelihood of many.  Nearly one quarter of all able bodied Americans were unemployed.  Depression and the dust bowl pushed entire families to pick up and move in search of a better life, often ending in miserable failure.  The depression alone was threatening American democracy, and it was certainly not clear that the institution could survive.  Compounding such threats were conflagrations overseas.  The Japanese had embarked on imperial ambitions, ravaging Manchuria, and threatening all of Asia.  Mussolini (a former grade school teacher) became the fascist leader of Italy with notions no less than a new Roman Empire for himself to lead. 

            Hitler had solidly taken control of Germany, and had just taken Poland.  Even as Ninotchka's reviews were being read in countless newspapers and periodicals, one could not escape noticing the grim headlines printed in these very same publications.  A wider European war looked imminent.  Indeed, just months after Ninotchka (a film set in Paris) had been released, France had fallen to the Nazis.  And to the east, loomed Stalin's totalitarian nightmare, of which Ninotchka poked so much fun.  Stalin's "Fellow Travelers" were a world-wide phenomenon, operating without great notice right in the midst of Hollywood.  Considering Italy looked prime for communism and others could take the bait as well, American Communist bided their time, looking for the correct opportunity to unleash their brand of government.

            This then was the grim backdrop for the filming of Ninotchka.  But was the film true to the times and could it offer valuable insight to future historians and social scientist?  Largely, the films of the 1930s were remiss in any accurate portrayal of the world around them.  Hardly did a film of this decade depict the troubled economic mess and the decrepit living conditions that often accompanied it.  Rarely did these films even show the lower middle class, little less the impoverished.  So it is not a huge revelation that the international situation was also largely ignored.  Even so, Lubitsch (Ninotchka's creator) deserves high marks for framing this film around one of the largest and most controversial issues of the day; communism.  True, the film did employ comedy and subtle innuendo to tackle this issue, but it did so nevertheless. 

            Communism was a touchy issue in America.  Workers truly had a long history of being abused by corporate interests.  To many, communism was more an ideal ends to an adequate working life, rather than wholesale Bolshevik revolution.  However, some Communist in America truly desired a radical change in government.  Those that desired to oppose or even attack the Communist position found themselves in direct conflict with American principles the likes of freedom of speech and freedom to form opposition parties and so on.  Those that truly understood what had been happening in the Soviet Union had every reason to be repulsed.  The mass trials (directly referred to by Garbo's Ninotchka) and forced relocation of peasants had killed millions.  In this environment, Lubitsch was courageous to tackle the issue of Stalinism.

            And yet, Lubitsch and the screenwriters (Wilder and company) did marvelous work in portraying communism for the ruthless sham that it is, balanced against the human face they attached to the Communist roles played by Garbo and others.  For the truth of it is, the Communist were people, often locked in a system they could not escape.  Moreover, many Communists truly strove for a higher ideal, as did Garbo's Ninotchka, as revealed by her distress in regard to the poor Russian climate in comparison to that of France when she lamented, "we have the high ideals; they have the climate."  Not only did Lubitsch depict the Communists as people striving for a higher plane, he also revealed the inner conflict many Communists from Russia would have had if they saw truly how the other half lived.  Yes, the trio of envoys were a little rash to abandon their life long principles once setting foot in France.  Ninotchka herself, was greatly torn by the revelation of what capitalism could mean for lowly Russians.

            However, Ninotchka (the woman) was also too quick to "reform" on the basis of one trip away from mother Russia. This is less troubling when considering the film was presented as light comedy.  As a comedy, such a film is never going to depict the true Russia nor the true Russian.  A drama would be better suited to exploit how miserable things really were there.  Moreover, like so many of the films of the 1930s, Ninotchka does not reveal the misery world-wide depression cast upon the capitalists either.  Strictly focusing on the capitalist elite gives an entirely false impression of how bad things could be for those in the west as well.  Nor does the film give any true sense of the great anxieties generated by the looming war.  Particularly considering the film was set in France, one would hardly notice that fascism was threatening the very existence of that nation.  Indeed, the Nazis would be marching into Paris as Ninotchka was barely out of the theaters. 

            Light comedy notwithstanding, Lubitsch nevertheless managed to give a good sense of Russian misery and the potential for terror that Stalin could unleash.  Through subtle jabs such as Ninotchka's proclamation that, "the last mass trials were a great success.  There are going to be fewer but better Russians," the film hammers away at the great tragedy of Stalinism.  Perhaps making sport of Communism is the films lasting legacy for social historians.  Surely there is a great deal to be gleaned from Ninotchka when looking to understand the unnerving and unsettling times when it was produced.  Although so much of what those times were truly all about are absent in this film, Ninotchka nevertheless, offers valuable commentary on Communist Russia and its conflicts with western culture and values.  Consider the laughs a bonus!

Ninotchka Critiqued by me: 

            Run, don't walk, to your favorite video vendor and get a copy of Ninotchka.  Don't give in to your worst impulses and rent some new release, soon to be relegated to the "For Sale Cheap" bin.  Treat yourself to a classic!  And as far as classics go, Ninotchka is a true gem.  For here is a film that holds up to the ravages of time like a four carrot diamond.  Released in 1939, Ninotchka is one of Ernst Lubitsch's finest films.  Lubitsch had such a way with films the "Lubitsch touch," was coined to term his brilliant style.  Headlining this picture is none other than Greta Garbo.  This time she actually laughs.  At least that is how MGM promoted the film.  Well, its true!  And although the usually stolid performer tries her hand at comedienne in Ninotchka, once again she pulls out a near flawless performance.  She plays a Stalinist faithful on a mission to Paris to sell jewels for cash strapped Russia.  Right from the start you can see she is all business as she tells her comrades, "don't make an issue of my womanhood.  We're here for work."

            Fortunately for her opposite, the flamboyant Count Leon D'Algou, played by Melvyn Douglas, she is soon sidetracked from mere work and becomes eventually enchanted by such capitalistic trapping as hats and gowns, and of course by the Count himself.  Douglas plays the role with such debonair style it is as if he had been born for it.  But Douglas and Garbo cannot alone take credit for such a fine film.  Lubitsch brought a sophistication to films through a subtle, sometimes elegant, and always witty demeanor.  His handling of Ninotchka only underscores this.  Lubitsch was also greatly aided by the writing team led by Billy Wilder.  Lubitsch had been an idol of the Viennese born Wilder, and eventually they collaborated on some of the finest films ever.  Wilder's brilliance of language is phenomenal.  The script for Ninotchka is no less so.

            Unfortunately for Communist everywhere, Ninotchka rips into Stalinism without pity.  And Garbo delivers some deadpan blows to capitalism as well.  Ninotchka, sizing up the Count for the first time tells him, "as basic material you may not be bad.  But you are the unfortunate product of a doomed culture.  I feel very sorry for you."  Later she tells him, "you are something we do not have in Russia.  That is why I believe in the future of my county."  Ouch!  But, as fortune would have it, the Communists come up short in this game of tit for tat.  It isn't long before Ninotchka is sipping champagne and falling for the Count.  But the Count's old girl, the exiled Grand Duchess, Swana, ties up the sell of the jewels in a nasty court case.  In exchange for Ninotchka giving up the Count and taking the next flight to Moscow, the Duchess gives her the jewels.  Weighing in the hunger of her countrymen, Ninotchka has little choice but to head home.

            Back in her gloomy Moscow flat, she longs for the Count and the Paris spring.  Her humorless roommate gargles behind the thin drape that serves as a door to her side of the room and the neighbor intrudes across the flat every time he needs the toilet.  What's a girl to do?  Soon, Bela Lugosi, in a priceless cameo scene has her once again on travel orders.  This time to follow up on the now thoroughly capitalistic corrupted envoys that had accompanied her to Paris.  Only now they are in Constantinople to sell fur, and the foreboding Commissar Razinin (Lugosi) reads from a disturbing report (in a thick Russian accent), "If I told you right now what is going on in Constantinople you wouldn't believe it.  They are sitting there, those three, for six weeks and haven't sold a piece of fur...They are dragging the good name of our country through every cafe and nightclub."            

            And they don't come back either.  Nor does Ninotchka.  Would you?  She is reunited with the Count and does who knows what next.  Hopefully they don't get too tied up with the Nazis who weeks later invade Paris!  No, this film is not perfect.  I have yet to see one that is.  The trio of Russian envoys perform a shtick that would have been more at home in Duck Soup.  And yet, even they grew into their role, or perhaps I grew into them.  And perhaps the Paris elite aren't the best examples of why the "west is best," but who wanted to see a film about soup kitchens in the depression?  Just maybe Ninotchka's little speech declaring "and we won't stretch up our arm...and we won't clench our fists," doesn't do justice to the horrors of fascism.  However, for a comedy, it nevertheless delivers a potent political message with hilarious punch!  Why even the count is practically a converted communist before Ninotchka is done with him. 

            Garbo and Douglas are superb.  Lubitsch is in full stride.  The script is dry, taught, and witty.  It would be worth seeing for the two minute scene with Lugosi alone!  This film may not be a ringing endorsement for capitalism but it certainly is a ringing endorsement for brilliant filmmaking!  

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