Where Is My Treasure?

Plot

In this German silent comedy, Ernst Lubitsch plays a husband who feels suffocated by his domineering wife and her equally oppressive mother. Desperate for freedom, he devises an elaborate scheme to fake his own suicide, hoping to escape their control. However, his plan takes an unexpected turn when he decides to disguise himself as a servant and returns to work in his own household. The comedy escalates as he must navigate the absurd situation of serving his unsuspecting wife while maintaining his disguise, leading to a series of hilarious misunderstandings and near-revelations. The film culminates in a chaotic resolution where his true identity is ultimately revealed in classic Lubitsch fashion.

Historical Background

This film was produced in December 1916, during the height of World War I, when Germany was experiencing significant social and economic strain. The German film industry, however, was thriving as domestic entertainment became increasingly important with the war limiting imports. This period saw the emergence of German cinema as a major cultural force, with directors like Lubitsch helping to establish the industry's international reputation. The film's focus on domestic comedy and marital discord reflected the wartime home front experience, where traditional family roles were being tested. The comedy provided audiences with much-needed escapism from the harsh realities of war. Additionally, this film represents an early example of the sophisticated comedy style that would later influence Hollywood's approach to romantic comedy.

Making Of

The production of 'Wo ist mein Schatz?' took place during a challenging period in German history, with World War I affecting all aspects of filmmaking. Lubitsch was working at a remarkable pace during this time, often directing multiple films simultaneously. The film's modest production values were typical of the era, with sets likely built quickly in Berlin studios. Lubitsch was already experimenting with visual comedy techniques that would become his trademark, including subtle gestures and props to convey humor without dialogue. The casting of Lubitsch himself in the lead role was common for his early films, as he was a popular comic actor before focusing solely on directing. The film's theme of domestic rebellion against oppressive female figures reflected some of the social tensions of the wartime period.

Visual Style

The cinematography by Theodor Sparkuhl reflects the technical standards of German cinema in 1916. The film employs relatively static camera positions typical of the era, with careful composition within the frame to maximize visual comedy. The lighting was likely basic studio lighting, with dramatic use of shadows beginning to emerge in German cinema of this period. The visual storytelling relies heavily on gestures, props, and spatial relationships to convey humor and plot developments. The camera work, while not revolutionary by later standards, shows Lubitsch's early understanding of how to use visual space for comedic effect, a skill he would perfect in his later films.

Innovations

While not technically groundbreaking, the film demonstrates solid craftsmanship typical of quality German productions of 1916. The film shows early examples of Lubitsch's innovative use of visual space and props for comedic purposes. The editing, while basic by modern standards, effectively paces the comedy and builds toward the film's climax. The production design creates believable domestic spaces that serve as the backdrop for the comedy. The film's technical competence reflects the growing sophistication of the German film industry during this period, which was rapidly developing its own technical expertise and aesthetic standards.

Music

As a silent film, 'Wo ist mein Schatz?' would have been accompanied by live musical performance during its original theatrical run. The typical accompaniment would have been a pianist or small orchestra playing popular musical pieces of the era, often improvising to match the on-screen action. No original score was composed specifically for the film, which was common practice for German comedies of this period. Modern screenings of the film are typically accompanied by newly composed scores or period-appropriate music performed live or recorded. The musical choices would have emphasized the comedic elements of the story, with lively, upbeat music during funny scenes and more dramatic music during tense moments.

Memorable Scenes

• The protagonist's elaborate fake suicide setup
• His first appearance disguised as a servant in his own home
• Near-miss encounters where his identity is almost discovered
• The chaotic final revelation scene where all disguises collapse

What Critics Said

Contemporary reviews from 1916 are scarce, but the film was generally well-received by German audiences who appreciated Lubitsch's growing reputation as a comic talent. Critics of the time noted the film's clever premise and Lubitsch's performance. Modern film historians view this as an important early work in Lubitsch's filmography, demonstrating the early development of his signature style. The film is often cited by scholars as evidence of Lubitsch's early mastery of visual comedy and his ability to extract humor from domestic situations. While not considered among his greatest works, it is recognized as a significant stepping stone in his artistic development and an example of the sophistication that would characterize his later, more famous films.

What Audiences Thought

The film was popular with German audiences in 1916, who were seeking light entertainment during the difficult war years. Lubitsch had already established himself as a popular comic actor and director, and his growing fanbase eagerly anticipated his new releases. The domestic comedy theme resonated with wartime audiences who could relate to family tensions and the desire for personal freedom. The film's success helped cement Lubitsch's status as one of Germany's leading comedy directors. Modern audiences who have had the opportunity to see the film through film festival screenings or archival presentations generally appreciate it as a fascinating example of early Lubitsch work and German silent comedy.

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