I once took a class with the late, great silent film historian David Shepard, who introduced a screening of Ernst Lubitsch’s The Student Prince in Old Heidelberg by saying, “Watch closely. You can learn how to make movies from this man.” An hour and forty-five minutes later I understood what he meant; every composition, cut, and camera movement was purposefully and powerfully designed to convey the characters’ emotional states in ways that were clear and simple yet opened the film up to multiple interpretations and nuances. Yet there’s always been something just a touch ineffable about Lubitsch’s style and how […]