Ninotchka (1939)

Introduction

Released at the tail end of the 1930s, Ninotchka marks a pivotal moment in both film history and star image. It is most often remembered as “Garbo laughs”—a reference to the publicity campaign heralding Greta Garbo’s transformation from enigmatic diva to sparkling comedienne. But beyond this famous tagline lies a film of exceptional intelligence and charm, one that critiques authoritarianism and capitalism alike while weaving a tender, deeply human love story.

Directed by Ernst Lubitsch, the master of continental wit and narrative restraint, Ninotchka is a masterclass in tone. It gracefully balances slapstick, satire, and emotion without ever losing coherence. Its script—penned by Billy Wilder, Charles Brackett, and Walter Reisch—shimmers with irony, layering humour over ideology with a delicacy that’s become emblematic of the so-called “Lubitsch Touch.”

Plot Summary

Three bumbling Soviet envoys (Iranoff, Buljanoff, and Kopalski) arrive in Paris to sell off confiscated Russian jewels and raise funds for the Communist government. While enjoying the temptations of Parisian luxury, they fall under the sway of Western decadence and are distracted from their mission.

To restore order, Moscow sends Nina Ivanovna “Ninotchka” Yakushova (Greta Garbo), a stern, humourless envoy who believes in reason, duty, and the supremacy of the Soviet ideal. Dressed in plain clothes and reciting Marxist truisms, Ninotchka embodies the no-nonsense efficiency of Stalinist ideology—until she encounters the charming and mischievous Count Léon d’Algout (Melvyn Douglas), an aristocratic playboy and adversary of the Soviet mission.

Léon, representing the frivolity and emotional openness of Western liberalism, teases and courts Ninotchka. Through him—and the enchantments of Parisian life—she slowly unravels. She begins to laugh, to dance, and eventually, to love. This awakening places her in a personal and ideological conflict: between duty to the state and devotion to her heart.

Performances

Greta Garbo delivers a remarkable performance that bridges satire, warmth, and vulnerability. Initially stiff and mechanical, her transformation into a lively, expressive woman is one of the film’s great joys. Garbo is never reduced to caricature; even as she unthaws, she retains complexity and intelligence. Her famous line—delivered deadpan—“It’s funny, but the mosquitos in Russia are the same size” encapsulates her dry, ironic wit.

Melvyn Douglas is an ideal romantic foil. Handsome and sly, yet never smug, he treats Ninotchka with both amusement and respect. Douglas doesn’t just romance Garbo’s character; he challenges her worldview with patience and humour. Their chemistry is palpable and nuanced, sparking not just with physical attraction but intellectual curiosity.

The supporting cast—including Sig Ruman, Felix Bressart, and Alexander Granach as the trio of comic Soviet stooges—provides delightful levity. Their love affair with Parisian creature comforts is both hilarious and oddly touching. Ina Claire as the Countess Swana, Léon’s jealous former lover, delivers sharp-tongued elegance with every scene.

Direction and “The Lubitsch Touch”

Ernst Lubitsch orchestrates the film with his trademark lightness of touch. He never hammers a joke or a moral lesson; rather, he trusts the audience to catch nuances in gesture, timing, and implication. Ninotchka is full of moments where what’s not said is as important as what is, a hallmark of Lubitsch’s cinema.

He allows political satire and romance to coexist, even to complement each other. In a lesser director’s hands, the film might have veered into farce or melodrama. Under Lubitsch, it becomes a graceful dance of ideas and emotions.

Visual Style and Setting

Shot in Hollywood but set in Paris, the film evokes a stylized European elegance—luxurious hotel rooms, bustling cafés, and romantic city streets—through meticulous MGM art direction. Cinematographer William H. Daniels, who had worked with Garbo since the silent era, bathes her in luminous light, ensuring that even as a severe commissar she maintains her screen goddess allure.

Costumes by Adrian are used not just to flatter but to dramatize Ninotchka’s transformation—from plain, militaristic suits to flowing, feminine gowns. The shift is both external and internal, marking her ideological and emotional evolution.

Themes and Satire

Totalitarianism vs. Individualism

The film critiques Soviet authoritarianism, showing how ideology suppresses spontaneity, pleasure, and humanity. Yet it also lightly mocks Western materialism and superficiality. Léon may embody freedom, but he is also a layabout who lives off inherited wealth. Lubitsch and Wilder offer no clear heroes—only flawed, likable individuals muddling through systems larger than themselves.

Repression and Awakening

Ninotchka’s journey is one of self-discovery. Her “awakening” isn’t just romantic—it’s existential. She learns to laugh, to desire, and to choose for herself, becoming fully human in a way her political dogma had denied.

The Absurdity of Bureaucracy

The Soviet envoys, with their endless paperwork and meetings, are gentle stand-ins for all impersonal systems. Their corruption by French luxury may be comic, but it’s also an indictment of rigid ideology’s susceptibility to human nature.

Love as a Political Act

In a world defined by conflict between East and West, emotion becomes a form of rebellion. Ninotchka’s choice to love Léon is also a rejection of state control over the individual.

Reception and Legacy

Ninotchka was a critical and commercial success upon release. It received four Academy Award nominations: Best Picture, Best Actress (Garbo), Best Screenplay, and Best Original Story. While it did not win, the film confirmed Garbo’s brilliance and introduced her to a new generation of audiences.

It has since become a landmark in film history. In 1990, it was selected for preservation by the Library of Congress in the National Film Registry. Directors from Billy Wilder to Woody Allen have cited it as a major influence.

The film also endures as a rare example of political satire that maintains warmth and grace. It does not scorn its characters for their beliefs but gently reveals their humanity beneath the ideologies.

Final Verdict

Ninotchka is a rare cinematic confection—romantic, smart, satirical, and tender all at once. With a brilliant script, sublime performances, and Lubitsch’s masterful direction, it offers one of the most enchanting portrayals of love’s power to transcend politics and awaken the soul.

Effortlessly elegant and enduringly relevant—a romantic comedy with brains, bite, and beauty.