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Monday, May 4, 2015
Ernst Lubitsch | Ich möchte kein Mann sein (I Don’t Want to Be a Man)
by Douglas Messerli
Hanns Kräly and Ernst Lubitsch (writers), Ernst Lubitsch (director) Ich möchte kein Mann sein (I Don’t Want to Be a Man) / 1918
The very next day Ossi is off to the clothiers to have a new (male) suit made for her, and that very evening she is off to the ball. The moment she steps into male freedom she, now he, is immediately ogled by the women and given privileges she might never before have imagined. But she also must now be prepared for the rough and tumble world she will face in being among her “own” kind, as she soon discovers just how difficult it is for a man to choke his neck in a high collar and tie, and how much push and pull is involved in even checking one’s hat and coat.
Such a striking young male as Ossi immediately succeeds. Kersten furious with his new male rival moves toward him in anger, but before the two can even verbally spar, they turn back to see the young woman with yet another suitor, and they can only laugh at the absurd turn of events. In
their mutual cuckolding’s they share a glass of champagne, another, and another. Kersten offers Ossi a cigar, and before the viewer can even assimilate the event, the two have become fast friends—so fast, in fact, that, in their sudden stupor, they are drawn to each other’s lips, smooching soon after in quiet homosexual rapport.
Off they go into the night, wearing each other’s coat, as they catch a carriage to….well we never know, but it appears they might be perfectly happy to sleep in each other’s beds. Indeed, quite by accident, that is precisely what happens; since they now both have fallen asleep, the driver has no choice but to reach into their coat pockets in search of their cards, and delivers them up to each other’s residence.
So too does Kersten wake up in a strange bed, hardly imagining it to be that of his new charge. As he attempts to sneak out, Ossi, still in male attire, meets him in the hall. He explains his appearance by suggesting that Ossi (that is herself) is his cousin who he has come to visit. Kersten seeks his assurance that he will never speak to her or anyone of the events of the previous evening, to which the young man agrees, and returns to his/her room, brushing out her hidden long locks.
But now recognizing his location, Kersten is confronted with the governess, delighted he has finally shown up. He goes to awaken Ossi, discovering her still dressed in last night’s tuxedo, and realizes what has truly transpired.
Oddly, he is not so much embarrassed as delighted, for he can now continue his affair with the young man, now his underage young female pupil without any further qualms. Ossi, however, promises that we will have to pay for it, and that she will most certainly have the upper hand.
It’s hard to say where this film’s sexual sentiments truly lie, for in a short 41 minutes, the work has embraced a libertine feminism, cross-dressing, transgenderism, lesbianism, homosexuality, and a man-child affair with batting an eye. As I have noted elsewhere in this volume, Berlin in the Weimar period was a wild place went it came to sexual identity. And Lubitsch’s film makes no apologies for embracing the whole range of possibilities available, apparently, to everyone.
Los Angeles, May 4, 2015