---
product_id: 107244529
title: "The Shop Around The Corner"
price: "€ 45.31"
currency: EUR
in_stock: true
reviews_count: 12
url: https://www.desertcart.es/products/107244529-the-shop-around-the-corner
store_origin: ES
region: Spain
---

# The Shop Around The Corner

**Price:** € 45.31
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- **What is this?** The Shop Around The Corner
- **How much does it cost?** € 45.31 with free shipping
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## Description

NTSC / Region 0 Korean import. Optional Korean subtitles can be turned off from the main menu. A rivalry brews between two Budapest leathergoods shop clerks, but unbeknownst to Alfred Kralik (James Stewart) and Klara Novak (Margaret Sullivan), the two have fallen in love with one another through an anonymous pen-pal correspondence in this charming romantic comedy.

Review: Screwball Comedy, the Battle of the Sexes. - This review is my reflection of the movie, "The Shop Around the Corner" (1940). Screwball comedy is a subgenre of comedy that became popular during the Great Depression era. It combines slapstick with fast-pace farce humor inside the dialogue of a sophisticated film. Contrary to preceding generation of films, screwball comedy often portrayed battle of the sexes where independent-minded females challenged masculinity. Accordingly, The Shop Around the Corner establishes the female character, Klara Novak, into a co-protagonist role through a man vs. woman conflict as she confronts the male character, Alfred Kralik (20:57). During this dispute, the female character was portrayed as an intelligent person who logically criticizes the male character’s deficient memory in recollecting the dress she wore and confidently boasting her competency as a salesperson. The scene also depicted the female character as a person who’s not intimidated by the male character, because she had successfully resisted the male character’s dominance by telling him that what she wears is none of his business – all while matching an equal vocal tone and rate of speech as the male character. By the half-time, it became apparent that both male and female actors performed synonymously to dramatize the battle of the sexes. Take for instance, during the numerous man vs. woman conflict scenes that were captured throughout the first half of the film (20:57, 28:07, 53:00), the two co-protagonists starts off a conversation as they do with any other characters. But, as the discussion continues over time, the actors speak at a faster rate, and their voice grows louder. The actors also modify their body postures and facial expressions; the stars frown and lean their body towards the opposing character when they confront each other, whilst throwing personal insults and expressing sarcasm. Hence, by articulating intrusive physical gestures and aggressive vocal tone, both actors together had built a man vs. woman conflict situation. Although the film establishes the lead male and female as two co-protagonists, in my opinion, gender was an issue in this movie because the female character’s performances were dependent upon the male character’s signals. The female character is the one who acts out the cluelessness of the situation (50:20, 1:32:15), is the person who awaits the male (50:20, 1:08:48), becomes ill in the absence of male’s correspondence (1:10:40), and is emotionally responsive to male character’s gestures (1:12:40, 1:36:10). Thus, the over-arching impression of the movie was depicted as the male character’s adventure in winning over a woman that he wanted. And regardless of however strong of an impression that the female actor had left on the audience, the female character was ultimately an archetype object for the male character in the film. Moreover, in regards to female character’s influence on male character, although the male character fell in love with the female character, the female character does not have the characteristics of a femme fatale because she does not lead the male character into disaster nor does she purposely seduce the male character with some sort of diabolical plan. As a matter of fact, to reiterate my previous point, the female character does not have any active control in the film – she only reacts to the male character’s actions. I also found it deeply interesting when the actor contrasted her character’s image. How was it possible that such a character that is so intelligent and resilient against the face of authority, be so weak and oblivious in front of love? The actor accomplished in making of this distinction by controlling her physical gestures and vocal tones like volume and pitch. When the actor was performing a strong character, the actor frowned and exerted a loud voice with an exclamation; actor acted out sarcasm by displaying a facial expression and speech utterance that contradicted the sentential response (20:57). In contrary, when the actor was acting out the submissiveness, she not only softened her speech but her entire body also became slowly stagnant (1:36:10). Overall, I think that the female actor had done a fantastic job. The male character’s super objective in the film is to reveal his anonymous identity to the female character that he had been blindly corresponding with over the mail. To achieve his super objective, one of the specific objectives that the male character had to accomplish was to approach the female character for the first time at a pre-arranged location (24:30). Unfortunately, the male character encounters a problem of having to discover that the mysterious woman who he had fallen for is actually his previous co-worker whom he had a bad relationship with. So he must overcome the obstacle of the woman’s negative perception of him. In order to overcome his obstacle, the male character attempts to approach the female character without offending her. In his attempt, the actor played the character in a different manner from how he normally approached her at workplace scenes. First, the actor approaches the female character at a distance slowly, full of hesitance. His body movement does not seem confident as perceived at workplace, which was fast paced. To illustrate the awkwardness, the actor cautiously moves his head around from side to side as if he is looking for someone, his lips are unparalleled and tucked in, and once he approaches the female character, he acts as if he had met her in coincidence. The actor’s manner of speech makes a contrasting differentiation as well. In previous scenes, the male character had always spoken in quick and bickering manner toward the female character. However, at the restaurant, the actor starts off a conversation with a slow and calming tone of voice, which is unprecedented prior to this scene. Asides from the domain of romance, the film showcased an abundant amount of comical scenes with a good mixture of both verbal and physical humor. For example, during the early scenes depicted in 8:14, 16:04, and 18:39, the employer character verbally prepares for a punch line by asking his employees, “all I want is your honest opinion” Then, every time when the employer asks for an honest opinion, Pirovitch – one of the employees – executes a punch line wit'h physical gesture by hiding away in panic. Although I cannot determine whether the comical scene produces laughter amongst the audience, I personally think that the usage of verbal cues were effective with the exaggerated physical movements performed by Pirovitch. According to the lecture, slapstick was effective in silent movies because title cards slowed down the soundless films. So, silent movies had to rely heavily on exaggerated physical gestures and the directors aimed to use as few title cards as possible. On the contrary, The Shop Around the Corner consisted of audio recordings and the linguistic communication did not hinder the continuation flow of the film. Thus, adjoining the verbal and physical gestures allowed the film producers to invest in time, to deliver a joke at the appropriate timing. 5 Stars: This product delivers what the seller claims, and the product demonstrates superior quality compared to other products in the market. Furthermore, the product has a good cost-benefit value. 4 Stars: This product delivers what the seller claims, and the product demonstrates superior quality compared to other products in the market. 3 Stars: This product provides what the seller claims, but you may find something better in the market at a similar cost. 2 Stars: This product works, but not to the effect that the seller claims. 1 Star: AVOID AT ALL COST. It might bring you harm (i.e. automobile windshield repair product might create more cracks).
Review: A Real Charmer. - The Shop Around the Corner is one of those perennial Christmas classics like Meet Me In St. Louis in which only one scene takes place during the Christmas Season rather than being a film about Christmas. In both films it is an important scene and both films are full of the kind of warmth and charm that is totally in the spirit of the Holiday Season. The two films share other things as well: both get a 100% rating From Rotten Tomatoes and both have been chosen for preservation in the National Film Registry by the Library of Congress. Meet Me In St. Louis is a family story while The Shop Around the Corner is mostly a romance. The film was directed by master director Ernst Lubitsch in the later part of his career. He went against many of his usual characteristics in this film. His reputation was based on making light, sophisticated films, often musicals, set in luxurious surroundings and inhabited by upper class characters. This film features ordinary people who work in a small shop, are afraid of losing their jobs and who mostly wear very ordinary clothes. There's no champagne and diamonds and no music at all except for Ochi Tchornya played by a musical cigarette case and later by a string quartet a a cafe. The screenplay was by Lubitsch's long-time collaborator Samson Raphaelson who adapted it from a play by Hungarian playwright Miklos Laszlo and became the basis of In the Good Old Summertime and You've Got Mail. Surprisingly the film still takes place in Budapest despite the fact that no one even tries to sound Hungarian. This is all for the good since I can't even begin to imagine Jimmy Stewart trying to sound Hungarian. It's a quiet film that gradually casts a spell as you get to know the characters and their lives at the small shop. With excellent direction and a good script you still need the right cast and this cast is absolutely excellent and works together beautifully. Jimmy Stewart is sincere as Alfred Kralik, the shop's oldest employee and lead sales clerk. He's gentle and soft spoken in that Stewart way but can be very tough if called upon. Margaret Sullavan is bright and hopeful as the new salesgirl who is carrying on a pen pal romance with a man she's never met. Frank Morgan (the Wizard of Oz) is for once in a non-comic role and shows he could be a good dramatic actor. Two fine European actors play major supporting roles. Joseph Schildkraut, a matinee idol in the days of silent films is practically oily as the two-faced, dandyish Mr. Vardas, another sales clerk. Felix Bressart plays sales clerk Pirovitch, Kralik's friend and a man who because of having to support his wife and children has to go along with whatever the boss says.Though neither tries to sound Hungarian their presence reminds you that the film is taking place in Europe. William Tracy is comic as Pepi, the brash delivery boy who wants more than anything to be a sales person. Smaller roles are filled by Sara Hayden (Aunt Millie in the Andy Hardy movies), who plays as usual, a spinster. Charles Smith (Dizzy in the Henry Aldrich series) is Rudy, the new delivery boy. Inez Courtney is salesgirl Ilona whose role seems to be underwritten as she fades away into the background. It's a heartwarming film by its end and you really want things to turn out well for the two potential lovers. The film isn't a frothy fantasy either, but introduces some serious topics that keep it grounded and real. It even seems topical today. Klara Sullavan) and Mr. Kralik (Stewart) don't exactly get along well in the shop. But one day she confesses that there is one thing she admires about him: "When Mr. Kralik asks you to go into the stockroom with him to get some boxes, you go in with him and get some boxes."

## Technical Specifications

| Specification | Value |
|---------------|-------|
| ASIN  | B07N4CTMZ8 |
| Actors  | James Stewart, Margaret Sullivan |
| Best Sellers Rank | #17,336 in Movies & TV ( See Top 100 in Movies & TV ) #613 in Romance (Movies & TV) #2,624 in Drama DVDs |
| Customer Reviews | 4.7 4.7 out of 5 stars (4,283) |
| Director  | Ernst Lubitsch |
| Is Discontinued By Manufacturer  | No |
| MPAA rating  | NR (Not Rated) |
| Media Format  | PAL |
| Number of discs  | 1 |
| Package Dimensions  | 7.52 x 5.43 x 0.63 inches; 3.84 ounces |
| Run time  | 99 minutes |
| Subtitles:  | English, Korean |

## Product Details

- **Contributor:** Ernst Lubitsch, James Stewart, Margaret Sullivan
- **Format:** PAL
- **Genre:** Drama, Romance
- **Language:** English
- **Runtime:** 99 minutes

## Images

![The Shop Around The Corner - Image 1](https://m.media-amazon.com/images/I/91mrQu+mpTL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ Screwball Comedy, the Battle of the Sexes.
*by H***E on October 3, 2016*

This review is my reflection of the movie, "The Shop Around the Corner" (1940). Screwball comedy is a subgenre of comedy that became popular during the Great Depression era. It combines slapstick with fast-pace farce humor inside the dialogue of a sophisticated film. Contrary to preceding generation of films, screwball comedy often portrayed battle of the sexes where independent-minded females challenged masculinity. Accordingly, The Shop Around the Corner establishes the female character, Klara Novak, into a co-protagonist role through a man vs. woman conflict as she confronts the male character, Alfred Kralik (20:57). During this dispute, the female character was portrayed as an intelligent person who logically criticizes the male character’s deficient memory in recollecting the dress she wore and confidently boasting her competency as a salesperson. The scene also depicted the female character as a person who’s not intimidated by the male character, because she had successfully resisted the male character’s dominance by telling him that what she wears is none of his business – all while matching an equal vocal tone and rate of speech as the male character. By the half-time, it became apparent that both male and female actors performed synonymously to dramatize the battle of the sexes. Take for instance, during the numerous man vs. woman conflict scenes that were captured throughout the first half of the film (20:57, 28:07, 53:00), the two co-protagonists starts off a conversation as they do with any other characters. But, as the discussion continues over time, the actors speak at a faster rate, and their voice grows louder. The actors also modify their body postures and facial expressions; the stars frown and lean their body towards the opposing character when they confront each other, whilst throwing personal insults and expressing sarcasm. Hence, by articulating intrusive physical gestures and aggressive vocal tone, both actors together had built a man vs. woman conflict situation. Although the film establishes the lead male and female as two co-protagonists, in my opinion, gender was an issue in this movie because the female character’s performances were dependent upon the male character’s signals. The female character is the one who acts out the cluelessness of the situation (50:20, 1:32:15), is the person who awaits the male (50:20, 1:08:48), becomes ill in the absence of male’s correspondence (1:10:40), and is emotionally responsive to male character’s gestures (1:12:40, 1:36:10). Thus, the over-arching impression of the movie was depicted as the male character’s adventure in winning over a woman that he wanted. And regardless of however strong of an impression that the female actor had left on the audience, the female character was ultimately an archetype object for the male character in the film. Moreover, in regards to female character’s influence on male character, although the male character fell in love with the female character, the female character does not have the characteristics of a femme fatale because she does not lead the male character into disaster nor does she purposely seduce the male character with some sort of diabolical plan. As a matter of fact, to reiterate my previous point, the female character does not have any active control in the film – she only reacts to the male character’s actions. I also found it deeply interesting when the actor contrasted her character’s image. How was it possible that such a character that is so intelligent and resilient against the face of authority, be so weak and oblivious in front of love? The actor accomplished in making of this distinction by controlling her physical gestures and vocal tones like volume and pitch. When the actor was performing a strong character, the actor frowned and exerted a loud voice with an exclamation; actor acted out sarcasm by displaying a facial expression and speech utterance that contradicted the sentential response (20:57). In contrary, when the actor was acting out the submissiveness, she not only softened her speech but her entire body also became slowly stagnant (1:36:10). Overall, I think that the female actor had done a fantastic job. The male character’s super objective in the film is to reveal his anonymous identity to the female character that he had been blindly corresponding with over the mail. To achieve his super objective, one of the specific objectives that the male character had to accomplish was to approach the female character for the first time at a pre-arranged location (24:30). Unfortunately, the male character encounters a problem of having to discover that the mysterious woman who he had fallen for is actually his previous co-worker whom he had a bad relationship with. So he must overcome the obstacle of the woman’s negative perception of him. In order to overcome his obstacle, the male character attempts to approach the female character without offending her. In his attempt, the actor played the character in a different manner from how he normally approached her at workplace scenes. First, the actor approaches the female character at a distance slowly, full of hesitance. His body movement does not seem confident as perceived at workplace, which was fast paced. To illustrate the awkwardness, the actor cautiously moves his head around from side to side as if he is looking for someone, his lips are unparalleled and tucked in, and once he approaches the female character, he acts as if he had met her in coincidence. The actor’s manner of speech makes a contrasting differentiation as well. In previous scenes, the male character had always spoken in quick and bickering manner toward the female character. However, at the restaurant, the actor starts off a conversation with a slow and calming tone of voice, which is unprecedented prior to this scene. Asides from the domain of romance, the film showcased an abundant amount of comical scenes with a good mixture of both verbal and physical humor. For example, during the early scenes depicted in 8:14, 16:04, and 18:39, the employer character verbally prepares for a punch line by asking his employees, “all I want is your honest opinion” Then, every time when the employer asks for an honest opinion, Pirovitch – one of the employees – executes a punch line wit'h physical gesture by hiding away in panic. Although I cannot determine whether the comical scene produces laughter amongst the audience, I personally think that the usage of verbal cues were effective with the exaggerated physical movements performed by Pirovitch. According to the lecture, slapstick was effective in silent movies because title cards slowed down the soundless films. So, silent movies had to rely heavily on exaggerated physical gestures and the directors aimed to use as few title cards as possible. On the contrary, The Shop Around the Corner consisted of audio recordings and the linguistic communication did not hinder the continuation flow of the film. Thus, adjoining the verbal and physical gestures allowed the film producers to invest in time, to deliver a joke at the appropriate timing. 5 Stars: This product delivers what the seller claims, and the product demonstrates superior quality compared to other products in the market. Furthermore, the product has a good cost-benefit value. 4 Stars: This product delivers what the seller claims, and the product demonstrates superior quality compared to other products in the market. 3 Stars: This product provides what the seller claims, but you may find something better in the market at a similar cost. 2 Stars: This product works, but not to the effect that the seller claims. 1 Star: AVOID AT ALL COST. It might bring you harm (i.e. automobile windshield repair product might create more cracks).

### ⭐⭐⭐⭐⭐ A Real Charmer.
*by J***F on December 1, 2017*

The Shop Around the Corner is one of those perennial Christmas classics like Meet Me In St. Louis in which only one scene takes place during the Christmas Season rather than being a film about Christmas. In both films it is an important scene and both films are full of the kind of warmth and charm that is totally in the spirit of the Holiday Season. The two films share other things as well: both get a 100% rating From Rotten Tomatoes and both have been chosen for preservation in the National Film Registry by the Library of Congress. Meet Me In St. Louis is a family story while The Shop Around the Corner is mostly a romance. The film was directed by master director Ernst Lubitsch in the later part of his career. He went against many of his usual characteristics in this film. His reputation was based on making light, sophisticated films, often musicals, set in luxurious surroundings and inhabited by upper class characters. This film features ordinary people who work in a small shop, are afraid of losing their jobs and who mostly wear very ordinary clothes. There's no champagne and diamonds and no music at all except for Ochi Tchornya played by a musical cigarette case and later by a string quartet a a cafe. The screenplay was by Lubitsch's long-time collaborator Samson Raphaelson who adapted it from a play by Hungarian playwright Miklos Laszlo and became the basis of In the Good Old Summertime and You've Got Mail. Surprisingly the film still takes place in Budapest despite the fact that no one even tries to sound Hungarian. This is all for the good since I can't even begin to imagine Jimmy Stewart trying to sound Hungarian. It's a quiet film that gradually casts a spell as you get to know the characters and their lives at the small shop. With excellent direction and a good script you still need the right cast and this cast is absolutely excellent and works together beautifully. Jimmy Stewart is sincere as Alfred Kralik, the shop's oldest employee and lead sales clerk. He's gentle and soft spoken in that Stewart way but can be very tough if called upon. Margaret Sullavan is bright and hopeful as the new salesgirl who is carrying on a pen pal romance with a man she's never met. Frank Morgan (the Wizard of Oz) is for once in a non-comic role and shows he could be a good dramatic actor. Two fine European actors play major supporting roles. Joseph Schildkraut, a matinee idol in the days of silent films is practically oily as the two-faced, dandyish Mr. Vardas, another sales clerk. Felix Bressart plays sales clerk Pirovitch, Kralik's friend and a man who because of having to support his wife and children has to go along with whatever the boss says.Though neither tries to sound Hungarian their presence reminds you that the film is taking place in Europe. William Tracy is comic as Pepi, the brash delivery boy who wants more than anything to be a sales person. Smaller roles are filled by Sara Hayden (Aunt Millie in the Andy Hardy movies), who plays as usual, a spinster. Charles Smith (Dizzy in the Henry Aldrich series) is Rudy, the new delivery boy. Inez Courtney is salesgirl Ilona whose role seems to be underwritten as she fades away into the background. It's a heartwarming film by its end and you really want things to turn out well for the two potential lovers. The film isn't a frothy fantasy either, but introduces some serious topics that keep it grounded and real. It even seems topical today. Klara Sullavan) and Mr. Kralik (Stewart) don't exactly get along well in the shop. But one day she confesses that there is one thing she admires about him: "When Mr. Kralik asks you to go into the stockroom with him to get some boxes, you go in with him and get some boxes."

### ⭐⭐⭐⭐⭐ Excellent movie!
*by J***F on January 31, 2026*

Such a wonderful and wholesome movie! Great actors and one we will watch over and over

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*Product available on Desertcart Spain*
*Store origin: ES*
*Last updated: 2026-03-11*