To Be Or Not To Be

Ernst Lubitsch - 1942
Lubitsch is again fluid. He employs a clear, often still establishing shot, before jeerily mmoving around his limited number of locations. He uses different staging techniques, up and down screen left and right, turning to or away, to emphasise or deemphasise certain reactions and moments. These don't usually come from moments within the set, they are more set beforehand.
Lubitsch is at his best when a simple framing straighforwadly conveys a reaction, his strength is the need not to need to draw out exactly what it is a reaction to, but that it is a reaction. As we aren't given narrative explicitly, but (quite obviously) create it ourselves, the viewer is always implicated in the picture.
As a narrative, we have an entry in the 'plucky Europeans' genre. Lubitsch likes to pull the wool, then the carpet out, making the stage reality and vice versa. Everyone is a mercenary, and everyone cares.