AniInterview Sorry, this movie sucks

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Candida It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Sameir Ali A dedicated and strict professor finds out that some his pupils are regular visitors of the famous night club. He himself goes there to check on the pupil. The unmarried professor's visit to the night club made a life changing turning point. The summary is how a female can put a man's life in tragedy. The movie has a smooth transition from silence through comedy to tragedy. The first talkie of Germany is well directed, photographer and played. This makes the movie a masterpiece and a must watch.#KiduMovie

blanche-2 "The Blue Angel" from 1930 made a star out of Marlene Dietrich and has a great performance by Emil Jannings. It's a very dark tale of obsession leading to degradation.The film is based on a novel by Heinrich Mann directed by Josef von Sternberg. It concerns a professor (Jannings) who goes to a club, The Blue Angel, where he learns his students go, and meets the hypnotic Lola (Dietrich). He falls in love with her, marries her, and starts down a road that leads to hell.This is a movie about images -- a dead bird, the magnificent Lola, Jannings as a clown, his descent into madness, his image in a mirror, and the final shot of him, utterly destroyed, at his old professor desk.This is German filmmaking at its best. Von Sternberg and Dietrich would head for America; Jannings, a Nazi collaborator, would stay put. Later Dietrich called him a "ham." He does give a big performance, but somehow, it isn't over the top. On a side note - Jannings was the winner of the first Academy Award, but in reality, he placed second. The winner? Rin Tin Tin. The Academy believed it wouldn't put them in a good light to give the award to a dog, so they denied Rin his award and gave it to Jannings instead. It's said he used to carry it with him.

kurosawakira Von Sternberg's film is a wonderfully constructed piece of succulent and mellifluous tragicomedy. The fluently moving camera offers a beautiful sense of place, and especially the crooked pebble-stoned streets and leaning houses are the unforgettable epitomes of this film in my memory.Just as with Vigo's "L'Atalante" (1934), much of the film's power depends on us, as the audience, being able to fall in love with the lead actress. It certainly helps that the director did, and for once some knowledge of production enhances the experience: Umrat/Jennings as the jealous and passionate star, Dietrich as the object of desire not only of the boys but of the camera. I also really like the use of stairs, which clearly separate the differing worlds. I could definitely see this influencing "Zéro de conduite" (1933) and "Hets" (1944). The slow movement of the camera in the empty classroom after the crucial confrontation reveals one of the most touching visual moments I can think of (this is repeated later in an equally heart-breaking scene).I remember I was very young when I saw this for the first time. It made a lasting impression then, and I count it as one of the three films that ultimately made me fall in love with films to the extent that my thirst will never be quenched.

jacabiya Let me join the ranks that herald this film as one of the great ones, an unforgettable all-time world cinema masterpiece that should be way higher in the IMDb scores, still relevant, powerful, not dated, with not one but two landmark performances. In the first half the film is very funny, but when Lola Lola starts clucking in the wedding reception the horror begins. This is my favorite Marlene Dietrich role, and for my taste the only sexy one, with baby fat and a rounder, younger, nubile face and body(before she turned into the more stern and severe deep-voiced German femme fatale). I find it amazing that her character in this 1930 film still turns me on. Jannings overacts grandiosely to match the extremely melodramatic, denigrating, tragic story, and gives one of the great acting performances of movie history (along with his performance in the silent The Last Laugh). The magician is perfectly sleazy yet human in his ignorance. The film piles it up towards its cringing climax, culminating in action not actually shown, an extremely intelligent move on Sternberg's part. And I dare anyone to come up with more horrible and painful sounds in film history than the professor's.