Abstract

This article explores the role of filmic objects within the romantic relationships featured in Ernst Lubitsch’s silent The Marriage Circle (1924) and the comedy Trouble in Paradise (1932). I argue that these objects reflect a unique engagement with the materiality of film décor, which makes use of the strong presence of objects to portray intimacy as the site of inconclusive meaning. By examining both films together, I demonstrate how the world of inanimate objects brings erotic undertones to the surface while challenging the material conditions of the erotic itself. In order to do so, I examine the ways in which Lubitsch relies on material details not only as functional narrative devices, but as elements that challenge and complicate our interpretations of familiar things. While the underacknowledged use of objects in The Marriage Circle illustrates the logic of displacement that stands at the center of the director’s style, Trouble in Paradise provides a framework for recognizing the critical role of objects in the structure of desire in his films. This article sets up a new reading of tactility and materiality in Lubitsch’s use of mise en scéne and seeks to give objects a prominent role in the analysis of his style.