“An eerie image,” I observed of this shot in Lubitsch’s MONTE CARLO (1930).
“Yeah, an empty bride,” said Fiona.
Bring on the empty brides!
This is one of Lubitsch’s early operetta films and it has a lot to commend it. The empty bride is discovered by extruded turtle/shaved deerhound Claud Allister, who’s expecting to marry Jeanette MacDonald, not a wraith. We then cut to Jeanette catching a train in just a coat and her undies. When the ticket collector expresses surprise, she says “I’ve just come from a wedding,” by way of explanation. To my delight, the ticket man is former silent comic Billy Bevan, Uncle Arn from CLUNY BROWN (my favourite Lubitsch).
It takes a while for an explanation to emerge. Jeanette was on the verge of marrying Allister for his money, except that the dress didn’t fit, which suddenly gave her pause, and caused her to run away (for the third time, in fact) while she had the chance. (Lubitsch’s films with JM nearly always begin with her in undies.)
This is really good writing — the image of the abandoned dress — the image of the fugitive in scanties — the jokes with the discombobulated ticket man — finally, once we’re properly interested, but so entertained we hardly require an explanation, the explanation. Which element came first?