This is the best summary I could come up with:

The highlight reel would include jazz age avatar Clara Bow, who embodied the antecedent in It (1926); William Wellman’s aerial spectacle Wings (1927), the first best picture winner; and Rouben Mamoulian’s innovative early sound film Applause (1929).

The code word was “Continental” — meaning that in location and attitude, the films affected a suave European worldliness about human desire that might ordinarily be expected to shock Victorian Americans — a mistress on the side, an adulterous lapse, a session of no-guilt transactional sex, all conducted in elegant-to-baroque surroundings somewhere offshore.

Lubitsch’s eponymous touch was already his auteurist billing when he came from Germany to Hollywood in 1922 — brought over by Pickford, to supervise her persona shift as a Spanish street singer in Rosita (1923) — but he imprinted his “saucy but not salacious brand of screen satire” at Paramount.

In Lubitsch’s hands, the potentially censor-enraging Design for Living (1932) — about a ménage á trois — could be utterly disarming with a practical solution for an age-old problem: A girl like Miriam Hopkins shouldn’t really be forced to choose between Gary Cooper and Fredric March, should she?

Passing under the Bronson Gate on Marathon Street (a signpost almost as famous as the “Paramountain”), cast and crew entered a self-contained community with its own barbershop, gym, clinic and cafeteria (where Cecil B. DeMille could be spotted at his table, presiding like Ramses).

Eisenstein has been loaned by the Soviet government to that old radical group, Paramount, and he had hardly set foot on our Republican soil before he was [feted with] banquets and toured around town in Rolls-Royces by the local proletariat,” noted a bemused account in Motion Picture News.

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