1939: the year that gave us Gone With the Wind, The Wizard of Oz and Mr Smith Goes to Washington, among a great many others. Oft forgotten and perpetually standing rather neglected in the corner though is Ninotchka,  a lively little comedy that not only leaves you grinning like a fool but touches the heart in such a way movies rarely do today.

Critical to the film’s success is the sparkling script, perfectly engineered by Walter Reisch, Charles Brackett and a young Billy Wilder. They venture where no writer would ever imagine with graceful hilarity, and the result is a unique and masterful retelling of a tale told countless times. One can see their creativity early on, when we realise that they have had the effrontery not to introduce the the eponymous Ninotchka until some twenty minutes into the film (which in many a movie world is more like an age).

In her place, they send us instead three stooge-ish gentlemen from the Soviet Union, whom we first meet as they gleefully discover the marvel that is the revolving door. Iranov, Buljanov and Kopalsky have been sent to Paris in order to engender the sale of a jewellery collection once belonging to the ex (and they are very quick to highlight this) Grand Duchess, who incidentally is also living in Paris at this time. The three are intercepted however by Count Léon d’Algout who introduces them to the wonders of capitalism in an attempt to thwart their plans and to recover the jewellery of his companion the Duchess.

The fruits of the Count’s efforts are explained when a shot of three dependable-looking caps dissolves, giving way to another shot of the same hatstand. In their place, we see two bowler hats, and an especially shiny ol’ topper. The three, we realise, have crossed over to the dark side.


The character of Ninotchka by this time is right at the back of our minds, but is promptly propelled forward again when we realise her role in this charming narrative: to completely the transaction – to succeed where her three countrymen have failed completely. It is here that the at first almost puzzling structure plays out beautifully.

The three are perfect foils to the Nina “Ninotchka” Yakushova and represent everything she is not. Yakushova is stern while they are interminably frivolous. She is devoted to her cause and to her communist ideals while they set up in the Royal Suite and hope the guys back home never find out. When played out against those of her comrades, Yakushova’s particular characteristics are highlighted even further.

Garbo and Douglas

And her realiser – the great Garbo herself – is truly sublime in bringing the heroine to life. The casting of Greta Garbo, poking fun at her own perennially doleful persona, is what can only be described as a flourish of casting genius. The riotous dead-pan delivery, the brusque manner with which Yakushova attacks every task at hand, the absolute disdain with which she regards Parisian hats and French baguettes – all this is executed with such comedic flair that it is almost tragic to think that Garbo dabbled so little in comedy in her career.

Yet there are also a few moments of melancholy in Ninotchka, and in these we are reminded exactly why Greta Garbo was the premier film tragedian of her day (and arguably every day since). There is a very wonderful scene in which Nina must feign good-spirits in her voice, but her expression, which we can clearly see, reveals her true feelings.


While frumpy, grumpy Miss Yakushova is indeed a lot of fun to watch, and the unhappy Nina can break your heart without a word,   neither are  nearly as lovely as Ninotchka, the young lady who begins to blossom as she succumbs to the whimsical charms of Paris, and in particular, the whimsical charms of a mysterious man. He is, of course, Count Léon d’Algout, the very enemy she has been sent to fight.

It is a pleasure to watch this unlikely pair fall slowly and so hopelessly in love. Under the light and remarkably stylish hand of Ernst Lubitsch, such a picture is painted of what falling in love really ought to be like; it is a vibrant transformation, when two people become not only boundlessly happy but also come to be the very best versions of themselves. For the overtly languid Leon, this is seen in something as simple as him making his bed for the first time in God knows how long. For Ninotchka, the special envoy who once barely knew how to crack a smile, it is a girlish jovialiality that positively shines from her.

With the cinema of the 21st century largely plummeting into a sea of cynicism and frankly, almost painful self-awareness, the simple romance at the heart of Ninotchka seems a relict from a time long-gone. Its theme though, that love can overcome any boundary – whether it be ideological, political or cultural – is one that I am sure still resonates today.


Leave a Comment

  1. Great review of a neglected classic Rachel. Garbo was indeed a consummate actress, and few others, if any, could have done such justice to this role.
    Best wishes, Pete.

    1. Thanks Pete! And yes, Garbo was a brilliant actress – had she chosen to continue with her career, I’d imagine that she would have produced many more great performances. Then again though, it is perhaps because of this – the fact that she played in so very few films – that we regard her with an extra aura of mystery and wonder.

    1. Yes, you’re probably right Fraser :) However, I still believe Ninotchka (and I’m sure you’ll agree) deserves more recognition than it receives – upon each viewing I still find myself observing a practically perfect film unfold.

  2. Rachel, I can’t even begin to imagine how cool it would be to watch a movie with you. I know your fingers must be on the remote backing the film up to replay a scene, time and time again. But I do hope you watch it straight thru the 1st time. Your reviews are always so compelling, I am sure I have seen this movie a million years ago, but your review makes me want to watch it again. Thanks for sharing your reviews. Please take care, Bill

    1. Bill, that’s very kind of you, but I think you’d be disappointed :) You’ll be happy to know though that I do sit down and watch the whole film through the first time round. Generally, I then see it a second time, paying particular attention to the scenes that stood out and just frantically scribbling down any interesting observations. (And yes, from time to time, you may see me rather dementedly playing a scene over and over again, making sure I get every little detail!) This method does take a while, but I get quite a thorough understanding of the film, and of course I enjoy going through the whole process very much too.

    1. You’re very welcome Thom – I am always glad to hear that my review has reminded someone of both the film and why they love it so much. I myself think I write them to discover exactly why the film in question has affected me in a particular way. It’s definitely a satisfying feeling when you get to the bottom of it, and afterwards I seem to love (or, very occasionally, loathe) the film all the more.

  3. I saw this one so long ago, I can barely remember Garbo – much less Melvin Douglas. Instead I bring Akim Tamiroff to mind and he wasn’t even in this film. I’m confusing Tamiroff as a Russian in Paris from the film Anastasia with Yul Brynner and Ingrid Bergman. Oh well. Long memmory short on details. Nice review.

    1. Thanks Mike, and thank you also for reminding me of Anastasia. I remember really liking that film as a kid – perhaps it’s time to see it again.

  4. A beautiful analysis of this wonderful film. It never gets old, does it? As you say, the script sparkles and Garbo is perfectly cast. I feel like I’m receiving a gift every time I watch this movie.

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