Broken Lullaby



IMDb Rating 7.6 10 964

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Uploaded By: FREEMAN
December 14, 2021 at 08:23 PM



Marjorie Main as Frau Schmidt - Townswoman
Zasu Pitts as Anna, Holderlin's Maid
Nancy Carroll as Fraulein Elsa, Walter's Fiancée
Phillips Holmes as Paul Renard
709.61 MB
English 2.0
23.976 fps
1 hr 17 min
P/S counting...

Movie Reviews

Reviewed by MartinHafer 9 / 10

Very, very touching....

In the early 1930s, there were a long string of anti-war films. After the carnage and senseless loss of WWI, people were now ready to face this and work towards a lasting peace. While Hollywood made several such films (THE EAGLE AND THE HAWK, ALL QUIET ON THE WESTERN FRONT AND BROKEN LULLABY), other nations also made similar films with similar messages (such as the French film J'ACCUSE or the German WESTFRONT 1918). Sadly, however, WWII would undo all this wonderful sentiment and it was a failed attempt to work past the stupidity of war.

BROKEN LULLABY begins with a very emotional scene where a French soldier (Paul) kills a German in the trenches. Despite doing his duty as a soldier, the man was severely effected by this death and it haunts him. Although he goes to confession after the war, he doesn't feel absolved for the death--even when the priest told him he has not sinned--after all, it was war. In an odd twist, Paul decides to go to Germany to seek absolution from the family of the man he killed! But, before he can explain why he is there, the family assumes he was a friend of their dead son (who'd lived in Paris before the war). Now, he's at a loss--should he tell these sweet people or keep it to himself and work out his absolution on his own?

There's an awful lot to like about this film. In addition to an excellent and literate script, the film has two other things working in its favor--the amazing way the film ended and the deft direction by Ernst Lubitsch. As for the ending, it was very simple but very, very touching--leaving the viewer impressed with its almost lyrical nature. It truly is a work of art. While Lubitsch is well known for his comedies and musicals, here he is just as adept with relationships. Plus, being German by birth, he had an easy time getting in touch with the spirit of a German town.

The only negative, and it's a small one, is that all the actors are clearly Americans. With no trace of German or French accents, it does seem a tad strange. Still, this was a common practice in Hollywood during this era and it didn't seriously detract from the film.

Overall, while not the very best of the anti-war films of the 30s, it is among the best and is significantly different from the rest. It's well worth seeing and you can't help but admire it even 77 years later.

Reviewed by TheLittleSongbird 8 / 10

Lullaby of dignity

'The Man I Killed', or 'Broken Lullaby' to others, appealed to me right away. There are many great war films out there (though admittedly do prefer slightly other types of films) and its message is an admirable one. It is notable for being an atypical effort for the great Ernst Lubitsch, instead of comedy, romantic comedy and musicals, 'The Man I Killed' is perhaps his most serious film. Seeing Lionel Barrymore in one of his more dramatic roles was interesting too.

While there was no doubt in my mind that it would be good at least, 'The Man I Killed' was more than good. It was very, very good and so close to being great. It was great to see a change of pace from Lubitsch, and just as much to see excel so well at it. Not everybody succeeds when they do something different to usual, some have even failed, but Lubitsch does succeed wonderfully. He never directed a more moving or more emotionally powerful film and in its own right there is so much to recommend.

Am going to get the very few not so good things out of the way. It is a little over-sentimental in places, though there is a big emphasis on in places and on a little.

Despite some excellent moments that do bring a lump to the throat, Phillips Holmes at times overacts and it is at odds with the more subtle acting of everybody else.

Lubitsch however directs impeccably, he directs with a darker touch but it didn't to me get too dark or too heavy generally. Of the performances, which are near uniformly good, Barrymore is particularly magnificent. One of his most subtle performances and one of his most poignant and intense too, especially in one of the most powerful speeches of any film seen recently. ZaSu Pitts is also excellent. The production values have both grit and elegance, with some beautifully crafted and clever shots at the start especially.

Some very effective use of sound too, like with agreed the marching feet which was quite unsettling. The script is literate without being talky and the message is delivered with force and sincerity without being laid on too thick. The story is harrowing and poignant, as well as sensitively handled. If the sentiment was a little less, the storytelling would have been perfect.

In conclusion, very, very good and nearly great with almost everything being outstanding. 8/10

Reviewed by wes-connors 6 / 10

Killing Me Softly with His Song

Armistice Day 1919 is celebrated by most French citizens, but handsome veteran Phillips Holmes (as Paul Renaud) is haunted by the face of a German soldier he killed during the Great War. After consulting with a Priest, Mr. Holmes decides to visit the man's family, in Germany. Holmes intends to confess his act, and clear his Christian conscience. But, the dead soldier's family mistake Holmes for friend of the deceased, after learning he's been bringing flowers to Mr. Holderlin's grave. Eventually, the dead man's father, Lionel Barrymore (as Dr. Holderlin), accepts Holmes as almost a replacement son. Then, Holmes falls in love with pretty Nancy Carroll (as Elsa), the fiancée of the man he killed…

Ms. Carroll and Holmes were more memorable in "The Devil's Holiday" (1930); and, Carroll was runner-up in the "Academy Award" for "Best Actress" for the 1929-30 eligibility period. But, here, Carroll doesn't have anywhere near the screen time or script she needed to make a like impression. The more focal relationship is between "son" Holmes and "father" Barrymore. Holmes is the lead actor; and, with direction from Ernst Lubitsch, performs in a manner that sometimes seems over-the-top, but was favored by many "serious" actors during the early 1930s. Still, Mr. Lubitsch contributes memorable moments, and the opening montage is terrific. The film's thesis is out of fashion is some ways, but is nevertheless interesting.

****** Broken Lullaby (1/19/32) Ernst Lubitsch ~ Phillips Holmes, Lionel Barrymore, Nancy Carroll

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