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Marlene Dietrich steals more than one show in this backstage tragedy about a lowly professor besotted with a cruel and enigmatic singer.
All Critics (37)
| Top Critics (10)
| Fresh (35)
| Rotten (2)
| DVD (4)
The first film collaboration between Josef von Sternberg and Marlene Dietrich, this reeks with decay and sexuality.
If The Blue Angel is familiar material, it is also the sort of hing that Jannings does better than anyone else.
On top of the drawing power of Jannings comes the discovery of a new magnet, Marlene Dietrich.
The film looks and sounds its age, but remains enthralling.
Not only is Mr. Jannings's and Miss Dietrich's acting excellent, but they are supported by an unusually competent cast.
You can't hear 'Falling In Love Again' too many times.
The classic tale of amour fou still holds up over eighty years later.
American director Josef von Sternberg went to Germany to direct Emil Jannings in his transition from silent to sound cinema and returned to Hollywood with an international hit and a new star: Marlene Dietrich.
The walrus and the mink, a Germanic love story
Dietrich's clinical detachment only enhances the fetishistic quality of the scene. There is never a doubt about who's in charge.
One of the first films to usher in sound in cinema, "The Blue Angel" remains an outstanding cinematic achievement that has influenced untold numbers of artists in all avenues of performance and exhibition.
A remarkable performance from Emil Jannings.
What is most memorable in this first-rate tragic classic, apart from Jannings' superb performance, is Marlene Dietrich's incredibly enticing, magnetic presence - which not by chance launched her into international stardom -, but the film also looks and sounds a bit dated today.
Why is it so hard for entertainers to fall in love? This movie is sad, but the story is good, especially the ending. Overall it's okay.
This is a story about the devastating effects of a man who lets his heart override his brain. A classic of German cinema, right up there with M and Metropolis, this one directed by Josef von Sternberg. If this film was nothing but the visuals -- sets, lighting, art direction -- it would have still knocked me out. But it is so much more than that.
Emil Jennings plays college professor Immanuel Rath, who find his students in possession of postcards of a sexy cabaret singer. He goes to the club, called the Blue Angel, to confront the woman, named Lola Lola, about her effects on his students. Unfortunately, he falls head over heels for her himself, and his obsession leads to the loss of his career and eventually, his dignity.
It starts comedic at first, with Rath collecting the student's postcards in class, and then later chasing them through the club. But as it goes on Rath loses more and more of his self-worth. When he finally can take no more, being utterly humiliated in front of his hometown, and snaps, it's terrifying to watch. Some of the more memorable scenes are the death of Rath's canary (really), Lola's songs, and the last shot of the film --which I will not give away here -- has stuck with me since I first saw it years and years ago.
One of Marlene Dietrich's first films, she is not the glamour ice goddess of her future -- no severe lighting, no cheekbones, no slinky dresses. She plays Lola as much more earthy and blatantly sexual.. Lola knows her appeal to men and is basically a cocktease. I stil haven't decided if Lola means from the beginning to treat Rath as badly as she does, if she doesn't know any better or just doesn't care.
One interesting thing about this film is seeing what was considered sexy and racy in pre-Hitler Germany. Lola's costumes are very revealing and yet really show nothing, except her undies. One postcard has a photo of Lola with a grass skirt attached to the card that can be blown up to show her stockings and garters. The young men in Rath's class get great entertainment by this activity. It seems so innocent now in this age of teen girls dressing like streetwalkers and thong bathing suits on every beach. Kinda sad really how jaded we've become as a society.
Marlene Dietrich plays a showgirl who ensnares the heart of a college professor (Emil Jannings) in this pre-war german production. The sets are visually expressive, and so is the film itself. The professor is an uptight bachelor, who's disliked by nearly all his students. He seems to be having a miserable life when he meets Marlene, and he eventually falls in love with and decides to give up his life to marry her. He loses his position at the school and follows the show on a tour of nightclubs, taking more and more menial jobs within the show. As the professor suffers, it's not clear what would have made him happy in life, but he's made the clown both literally and figuratively. Marlene the showgirl is so flighty, she jumps from man to man. She finds his earnestly sweet nature to be endearing at first, but soon just sees him as another weak man. Are these characterizations meant to show the dangers of chasing after a morally "loose" woman, or is it an indictment of petty bourgeois repressed sexuality? There's so much that visually and emotionally striking about this powerful film, by the end, the viewer is left stunned.
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