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Meyer aus Berlin 1919
Description: Sally Meyer, a young Berliner, persuades his Doctor to convince his wife that he is ill, so that he is able to take a vacation in the Austrian Alps in order to pursue women. Meyer dresses up in what he considers Tyrolean attire. However, he mistakenly travels to the Bavarian Alps rather than Austria. Meyer becomes infatuated with Kitty, a young, pretty girl at the hotel where he is staying. His pursuit of her angers many of her another suitors who are also staying at the hotel. In order to impress Kitty, Meyer agrees rather reluctantly to climb Mount Watzmann. Wwhile they are approaching the summit, both Meyer's wife and Kitty's fiancee unexepectedly arrive from Berlin.
Released: 17 Jan 1919 Director: Ernst Lubitsch Writers: Hanns Kräly, Erich Schönfelder Actors: Ernst Lubitsch, Ethel Orff, Heinz Landsmann, Trude Troll Genres: Comedy
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Meyer aus Berlin Reviews:

Before his brilliant Hollywood career as a director of sparkling sex comedies, Ernst Lubitsch starred (and directed himself) in a long series of silent comedies (most of them four reels long) in Germany. He typically played a pushy Jewish character, and many of his early comedies featured up-to-the-minute slang and Yiddishisms in the dialogue titles. Although the name of Lubitsch's onscreen hero varied from one movie to the next, his characterisation was a fairly consistent one.'Meyer from Berlin' is a standard entry in the series, and it's cute good. In the opening scene, a Berlin doctor gets a letter from Meyer, asking him to visit Meyer's house to diagnose Meyer for an (imaginary) disease and to prescribe a long holiday, so that Meyer can receive away from his wife. From this set-up, we expect Meyer's wife to be an ugly shrew. The next stage shows Meyer at home in bed, pretending to be ill. But Frau Paula Meyer turns out to be an pretty young girl in a fetching nightie, who genuinely cares about her husband. I can't see why he's so eager to receive away from her... unless it's that whacking large bottle labelled 'Castor Oil' that she keeps brandishing.Soon enough, Meyer is off to the Tyrol, dressed in lederhosen and brandishing an alpenstock. He straight away introduces himself to an pretty young lady called Kitty. Few another boys are also pressing their attentions upon Kitty, but Meyer uses some intelligent stratagems to receive her all for himself. Kitty's husband Harry is elsewhere, but she decides to feign interest in Meyer (the least threatening boy in the hotel) so as to discourage all the another men.Complications ensue. Eventually Harry and Paula (travelling together, as if they were a married couple) catch up with Meyer and Kitty (ditto) in an Alpine lodge, where every cross-couple spends the night without realising the another couple is there too.There are some very funny gags in this film, even though Lubitsch is needed to remind us constantly that his onscreen hero is a scheming Jew. At one point, to impress Kitty, Meyer agrees to climb a 2800-metre mountain. The night before the ascent, he has a trick-photography nightmare in which a mountain labelled '2800' materialises next to his bed. Meyer casually removes the two noughts, and the mountain (now only 28 metres high) obligingly dwindles. But this sight gag is spoilt by an unfunny Jewish-stereotype joke ... speaking directly to the camera, Lubitsch adds: 'I knew I should haggle with that mountain.' In another words, a Jew will everytime haggle. Ha ha, how unfunny.There are some very delicious exterior sequences of Weimar Germany, and these have a charming air of cinema-verite; while Lubitsch is doing something in the foreground, the true folks in the background (not actors) are doing something fully unrelated to his actions. The interiors are less successful than the exteriors: Meyer and his wife Paula have an absolutely large bedroom with a very high ceiling: this room is so huge, it's clearly a movie set rather than a room where true folks sleep.There's a funny (and kinky) sequence in the Alpine lodge, when Meyer kneels in front of Kitty to undo the long, long, LONG bootlaces on her elegant knee-high boots, while he says her 'I used to work in a shoe store.' This may be an in-joke reference to 'Shoepalace Pincus', a previous movie starring Lubitsch that had been a large box-office hit.'Meyer from Berlin' is a fascinating look at an early phase of Lubitsch's career, with his directorial skills already firmly in place. I'll rate this film 7 out of 10.


Teutonic bourgeois like German aristocrats, from time to time need some new air in order to take a break from their matrimony obligations that become dangerously monotonous. So that's precisely what Herr Meyer ( Herr Ernst Lubitsch ) from Berlin did. He took a trip to the Tyrol in Switzerland, leaving behind his wife Frau Paula ( Frau Ethel Orff ), and had a nice time with the support of an accomplice, his private doctor.Once in the Tyrol and accordingly dressed like the natives of such a neutral country, Herr Meyer will meet an idle bourgeois woman, Frau Kitty ( Frau Trude Troll ). She is also spending a trifle time in the same elegant hotel (with the permission in this situation of her fiancée); She's a pretty fraulein who constantly is harassed by gentlemen and Herr Meyer isn't exactly an exception about this… "Meyer aus Berlin" ( Meyer From Berlin ) (1919) is a characteristic Herr Lubitsch movie from his German early silent period. It's a satiric and ironic view about matrimony and bourgeoisie, in where sarcastic comments, puns and hilarious cases gives Herr Lubitsch the possibility to do what he likes most. That's to depict the war of sexes and the peculiar relationship and behaviour among boys and girls in the institution of matrimony, strict obligations and guidelines that obviously were made in order to be broken as the German director ( and aristocrats ) have known for ages. Flirting, deceit and lies are men's favorite minigames and minor sins ...until your wife discovers everything, natürlich!...Besides being a light comedy as trivial as any matrimony, "Meyer aus Berlin" is also a peculiar early mountain film. (However, in Herr Lubitsch's parameters, natürlich!) So thanks Gott there is no trace of epic climbing, snow or ski races in the film. On the contrary, for Herr Meyer the concept to climb the mount Watzmann as recommended this by Frau Kitty is a poor idea; Kitty, as it happened with another vigorous Teutonic women, very much likes this genuine German sport, , but to Meyer, it's a tedious and sweating plan that he doesn't like at al preferring more exciting sports like chasing maids or wooing Frau Kitty.Filmed after "Carmen" (1918), the large budget costume movie production that gave Herr Lubitsch globe fame and reputation outside Germany, "Meyer aus Berlin" is more prosaic and light entertainment. It is one of these comedies that the German director inserted between expensive and large movie projects. This doesn't mean that these comedies are easy ones, not at all; such pictures display inventive technical results and attentive sceneries that are filmed accordingly with peculiar contemporary stories.And now, if you'll let me, I gotta temporarily take my leave because this German Count gotta enjoy the aristocrat's favorite minigames mentioned before.


"Meyer aus Berlin" or "Meyer from Berlin" is a German movie from 1919, so this one will later have its 100th anniversary. The director here is Ernst Lubitsch, still in his 20s at that mission and quite a while before his Hollywood breakthrough. Lubitsch also plays one of the central characters and the script comes from a duo including Hanns Kräly, Lubitsch's longtime collaborator and soon even an Academy Award winner. Maybe folks who really know and love old German movies may recognize some of the actors in here, but you probably need to be a heavy fanatic of the black-and-white silent era as with the film's age, there are obviously neither sound nor color in here. This movie is basically what romantic comedies looked like a century ago here in Germany. I think there are many low ones nowadays, but those suck for fully various reasons than this one here. But a problem, both may have in common is the lack of realism at times. Coincidence is everytime an necessary factor for me in these movies and it has to feel somewhat realistic and I cannot tell that this is a situation here. That's why even solid actors like Lubitsch or Oswalda can eventually not save the movie from becoming a disappointment and I was mostly glad it runs for under an hour only and not much longer. There are some solid moments without a doubt, but all in all it is just not enough and the references about the actual objects of affection of the protagonists feel cute random at times, rushed in at others and just bizarre sometimes too. I want I could, but I cannot give this movie a thumbs-up. Admittedly, I am probably not the largest black-and-white silent movie fan, so my perception may be a bit biased. If you love these movies more than I do, maybe it's still worth checking out for you. Just do yourself a favor and don't expect any type of greatness, so you won't be disappointed.



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