The Tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. It represents the percentage of professional critic reviews that are positive for a given film or television show.
From the Critics
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The Tomatometer is 60% or higher.
The Tomatometer is below 60%.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
At the peak of her career in the 1930s, Marlene Dietrich was the screen's highest-paid actress; moreover, she was also the very essence of cinematic eroticism, a beguiling creature whose almost supernatural allure established her among film's most enduring icons. While immensely sensual, Dietrich's persona was also strangely androgynous; her fondness for masculine attire -- suits, top hats, and the like -- not only spawned a fashion craze, it also created an added dimension of sexual ambiguity which served to make her even more magnetic. Born Maria Magdalena Dietrich outside of Berlin on December 27, 1901, she was the daughter of a Royal Prussian Police lieutenant. As a child, she studied the violin, and later tenured at the Deutsche Theaterschule. She made her film debut with a brief role in 1923's Der Kleine Napoleon, followed by a more substantial performance in Tragodie der Liebe; she later married the picture's casting director, Rudolf Sieber. After a series of other tiny roles, including an appearance in G.W. Pabst's 1924 effort Die Freudlose Gasse, Dietrich briefly retired; by 1926, however, she was back onscreen in Manion Lescaut, later followed by Alexander Korda's Madame Wuenscht Keine Kinder. After returning to the stage, Dietrich resumed her film career, typically cast as a coquettish socialite; still, she remained better known as a live performer, enjoying great success singing the songs of Mischa Spoliansky in a popular revue. Then, according to legend, director Josef von Sternberg claimed to have discovered her appearing in the cabaret Zwei Kravatten, and cast her in his 1930 film Der Blaue Engel; even before the picture premiered, von Sternberg offered a rough cut to his American studio Paramount, who signed her for Morocco, where she played a cabaret singer romancing both Adolph Menjou and Gary Cooper. Both films premiered in New York almost simultaneously, and overnight Dietrich was a star. Paramount signed her to a more long-term contract, at a cost of 125,000 dollars per film and with von Sternberg, who had become her lover, in the director's seat of each. The studio, in an unprecedented five-million-dollar publicity blitz, marketed her as a rival to Greta Garbo's supremacy; upon learning that Garbo was starring as Mata Hari, Paramount cast Dietrich as a spy in 1931's Dishonored in response. The follow-up, 1932's Shanghai Express, was Dietrich and von Sternberg's biggest American success. With Cary Grant, she then starred in Blonde Venus, but when the picture did not meet studio expectations, Paramount decided to separate the star from her director. Not only their working relationship was in a state of flux -- von Sternberg's wife unsuccessfully sued Dietrich (who had left her husband behind in Germany) for "alienation of affection" and libel. For Rouben Mamoulian, she starred in 1933's The Song of Songs amidst a flurry of rumors that she was on the verge of returning to Germany - no less than Adolf Hitler himself had ordered her to come back. However, Dietrich remained in the States, and her films were consequently banned in her homeland. Instead, she played Catherine the Grea in von Sternberg's 1934 epic The Scarlet Empress; it was a financial disaster, as was their follow-up, the lavish The Devil Is a Woman. In its wake, von Sternberg announced he had taken Dietrich as far as he could, and begged off of future projects. A much-relieved Paramount set about finding her projects which would be more marketable, if less opulent. The first was the 1936 romantic comedy Desire, directed by Ernst Lubitsch. It was a hit, with all indications pointing to comedy as the best direction for Dietrich's career to take. Again with Lubitsch, she began work on I Loved a Soldier, but after a few days, production was halted after she refused to continue following a number of changes to the script. Instead, Dietrich next starred in the Technicolor remake of The Garden of Allah, followed by Korda's Knight Without Armour. Reunit
I wish you understood German.
The words are very beautiful.
Much sadder than the English words.
My husband was a military man all his life.
He was entitled to a soldier's death.
He asked for that.
I tried to get that for him, just that, that he would die with some honor.
I went from official to official.
I begged for that.
That he be permitted the dignity of a firing squad.
You know what happened?
He was hanged with the others...
and after that, I knew what it was to hate.
I never left the house, I never left the room.
I hated with every fiber of my being.
I hated every American I had ever known.
You see, I have a mission with the Americans, as Mr. Perkins can tell you.
Judge Dan Haywood:
What is that?
To convince you that we're not all monsters.
We must forget if we want to go on living.
Listen to me... there are things that happened on both sides. My husband was a military man, had been all his life. He was entitled to a soldier's death; he asked for that. I tried to get that for him, just that and he would die with some honor. I went from official to offical. I begged for that, I begged for that, that he should be permitted the dignity of a firing squad. You know what happened. He was hanged with the others, and after that, I knew what it was to hate. I never left the house. I never left the room. I drank. I hated with every fiber of my being, I hated every American I'd ever known. But one can't live with hate. I know that. We have to forget. We have to go on living.
Erika von Schluetow:
What silly shrews American women are.
He was some kind of a man. What does it
matter what you say about people?
It took more than one man to change my name
to Shanghai Lily.