SunnyHello Nice effects though.

Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

MARIO GAUCI This was the seventh and last (indeed, it had been announced as such from the outset by Paramount) of the celebrated cycle of cinematic collaborations between Sternberg and Marlene Dietrich and is said to have been both their own favorite – incidentally, with it, the two effectively came full-circle by making another film (as was their first joint venture, THE BLUE ANGEL {1930}) that revolves around a middle-aged man ruining himself for love of an ungrateful young woman. It was also the third adaptation of Pierre Louys' novel "The Woman And The Puppet" that had been much admired by the French Surrealist movement and, appropriately enough, was remade much later by Luis Bunuel in 1977 as THAT OBSCURE OBJECT OF DESIRE (which turned out to be his own swan-song).Like that version, here we also have the long-suffering 'puppet' (Lionel Atwill in one of his best non-horror roles) narrating his misfortunes with the 'woman' – albeit to a best friend (a young Cesar Romero, replacing Joel McCrea who walked off the set after a single day's shooting!) in a Spanish cantina rather than to strangers on a train! Sill, like the earlier 1929 French version, the male lead (here renamed Pasquale) meets Conchita on a snow-derailed express where Dietrich (dressed as a nun!) takes on an unattractive gypsy female dancer and he intercedes to put an end to that struggle; incidentally, there had also been a nun passenger in the Baroncelli version but she was shown sleeping through the whole ordeal! Speaking of Atwill, he had previously acted opposite Dietrich in her first non-Sternberg Hollywood film, Rouben Mamoulian's THE SONG OF SONGS (1933) which I plan to catch up with presently; besides, Sternberg was summoned to give evidence at Atwill's 1942 trial (concerning an 'immoral' Christmas 1940 party) in which the actor infamously perjured himself and, consequently, was ostracized from Tinseltown's major league and forced to spend his last four years slumming it in third-rate (if not disagreeable) flicks! This being an adaptation emanating from Hollywood's Golden Age, it is unsurprising to find the supporting roles filled by such amiable character actors as Edward Everett Horton and Alison Skipworth (in a bigger role – as Dietrich's mother – than her character gets in either of the other available versions) who are usually known for comedy and indeed supply some non-intrusive comic relief; equally par for the course is having Dietrich sing an amusingly suggestive number and don some of the kitschiest costumes – even if, ostensibly, she is playing a poor Spanish girl! The film is set during the carnival season and this grants Sternberg the opportunity to devise some remarkably atmospheric masks; indeed, the director must have known this was going to be his last film with Dietrich because he photographed the film himself (although the great Lucien Ballard gave uncredited support – or, rather, was learning the ropes – in his second of four consecutive films for Sternberg).Having been made after the Hays Code came into force, the film fell victim to censorship (and even a ban threat from Spain!) but its impact still comes through; a notable change concerns the famous nude dance performed by Conchita and the humiliation endured by Pasquale at her house: celebrated novelist John Dos Passos, who adapted the Louys novel, still made Dietrich a tramp, while Sternberg displayed the power of the moment through camera-work, the décor and the elements (rain is pouring down throughout the scene! The film runs for just 80 minutes but feels somewhat longer – especially since the narrative goes on after the main story had ended in the other two versions I watched and includes exclusive incidents: a duel between the two men, a visit to a hospitalized Atwill, Conchita about to leave with Romero but deciding to stick with Atwill, etc.I had watched THE DEVIL IS A WOMAN twice previously on Italian TV in an English-language print that was accompanied by Italian subtitles that were so large that they obscured a good part of the screen!; this new viewing came via Universal's 2-Disc Set "Marlene Dietrich: The Glamour Collection" which features two double-features on a double-sided disc (the film under review sharing disc space with Rene Clair's THE FLAME OF NEW ORLEANS {1941}) while, bafflingly, Mitchell Leisen's GOLDEN EARRINGS (1947) has a disc all to itself! Funnily enough, this being yet another case of those maligned DVD-18 discs, I was unable to start the feature by pressing the "Play" button and had to do so from the chapters menu! Incidentally, the later Julien Duvivier/Brigitte Bardot remake was alternatively known as A WOMAN LIKE Satan (while is, alas, currently available only in unsubtitled form!) and there are at least two more unrelated but notable films known as THE DEVIL IS A WOMAN: Stephanie Rothman's THE VELVET VAMPIRE (1971; which I have never seen) and Damiano Damiani's star-studded nunsploitation effort, IL SORRISO DEL GRANDE TENTATORE (1974)! Ironically enough, Sternberg had intended calling his film "Capriccio Espagnole" (which would actually be retained by the Italian release prints!) but was vetoed by Paramount's current Head Of Production, Ernst Lubitsch!

lugonian THE DEVIL IS A WOMAN (Paramount, 1935), directed by Josef Von Sternberg, with screenplay by John Dos Passos, became the director's most personal film to star Marlene Dietrich. For their seventh and final collaboration, instead of possibly doing such then popular choices as a screwball comedy or a lightweight musical showcasing Dietrich's singing talents, Von Sternberg selected Pierre Louys' novel "The Woman and the Puppet." Previously filmed under that title, in the silent era (1920) starring opera singer, Geraldine Farrar, this new edition may very well have been an approach in presenting a different Dietrich, that as a heartless Spaniard girl making pitiful fools of the men who love her. Nothing new there since she portrayed a similar type in her breakthrough film role in THE BLUE ANGEL (1930) under Von Sternberg in Germany. Reminiscent to the silent screen vamp as Theda ("Kiss Me, You Fool") Bara in the 1910s; early Greta Garbo as THE TEMPTRESS (MGM, 1926) and FLESH AND THE DEVIL (MGM, 1927) a decade later; or even the classic Guiseppi Verde opera, "Carmen," THE DEVIL IS A WOMAN may have seemed a trifle old-fashioned by 1935. In spite of dismal results which have kept this particular movie out of circulation for many decades, making this the least known and revived of the Von Sternberg-Dietrich collaborations, it's been labeled a personal favorite to them both.With music based on Rimosky-Karsakoff's "Spanish Caprice" and old Spanish melodies, "The action of the story takes place during a carnival week in the south of Spain at the beginning of the century." After Don Paquito (Edward Everett Horton), the new governor, gives orders for officials to shoot any lawbreakers rather than having them arrested and crowding the jails, the next scene introduces Antonio Galvan (Cesar Romero), a political refugee returning from Paris, in masquerade costume resembling that of Zorro, walking through the crowd looking for women. One in particular (Marlene Dietrich) catches his fancy, and at the conclusion of the parade, follows her home. Coming to the estate to meet this mysterious woman, he's given a calling card from her butler to meet her at the Avenue of the Sycamores. While waiting, Antonio comes across his best friend, Don Pasquel (Lionel Atwill), a former Army officer of the Civil Guard who, three years earlier had resigned his commission. Learning Antonio is to meet this notorious Concha Perez ("the most dangerous woman"), Pasquel relates of how he became involved with "the toast of Spain" that lead to his disgrace. In a flashback lasting 35 minutes, Concha, who works in a cigarette factory, lives with her mother (Alison Skipworth), always heavily in debt. She meets Pasquel in a snowbound train in Paris. Immediately fascinated by her beauty, he yearns on becoming her "protector." During their on and off relationship, at one point consisted of he giving her a beating, Concha gives him up for a bullfighter, Morenito (Don Alvarado) who later kills himself. At the conclusion of his story, the men part company, with Antonio promising Pasquel to forget about her. Curiosity gets the better of Antonio, who meets Concha with the attempt of killing the woman who disgraced his friend. Instead, he's captivated by her charms. Caught embracing by Pasquel, the two former friends agree to settle their differences dueling it out with pistols.In a role that might have been tailor made for Dolores Del Rio, Dietrich gives a convincing performance, looking quite exquisit and alluring, especially while singing "Three Handsome Sweethearts Have I (For He is a Son of a ...)" by Leo Robin and Ralph Rainger. Atwill stands out as the rejected suitor (similar to his earlier role opposite Dietrich in 1933's THE SONG OF SONGS). Interestingly, Atwill bears a striking resemblance towards its director, Von Sternberg, from his sneering eyes right down to the mustache, almost as if Von Sternberg enacted the role himself. While a straight drama, some of the lines are unintentionally amusing: Atwill: (looking down at Concha as she fixes her face seated in front of a mirror) "I love you Concha. Life without you means nothing." Dietrich: (Boldly replies) "One moment and I'll give you a kiss." Cesar Romero, in his first important screen role, is properly cast in his role, much better suited than the original choice of Joel McCrea.Unseen in many years, largely due to its controversy with the Spanish government on how some of the characters are portrayed, or possibly for its dull narrative, THE DEVIL IS A WOMAN began resurfacing either through private screenings or revival theaters around the 1960s before finally making it to television, notably on public TV's WNET, Channel 13, in New York City, where it aired occasionally from 1980 to 1989. Turner Classic Movies premiered this rare gem January 3, 2002, during its "Star of the Month" tribute to Marlene Dietrich. In spite of its limited showings, THE DEVIL IS A WOMAN is still a rarity. Maybe its current availability on DVD might remedy that. (**)

bkoganbing The Devil Is A Woman marked the end of the director/player partnership of Josef Von Sternberg and Marlene Dietrich. I'd love to give the film a better review, but the results of this film show the team was played out in terms of creativity.In terms of a plot Von Sternberg took one that was very familiar, a woman dragging a man to the depths of destruction, in fact a few men in this case. If it sounds familiar that's exactly what Marlene Dietrich was doing in The Blue Angel as the saucy sexpot entertainer Lola-Lola who humiliated and degraded Emil Jannings. Here she leads Lionel Atwill and young Cesar Romero in his very first role of substance and if you can believe it, Edward Everett Horton. You read that correctly.At a carnival young Romero who is a Republican revolutionary in turn of the last century's Spain first makes some heavy eye contact with sexy Marlene. Later on he runs into former Spanish Army officer Lionel Atwill whom he asks about this ravishing creature.Lionel spends the next several reels telling his sad story of how this woman was the ruin of his career. But does Romero heed Atwill's warnings? He does not, because the way Atwill tells it this woman might be the ultimate in sexual fantasy. He ought to know, Atwill's still fantasizing over here.Naturally these guys are going to tangle and I'm not going to reveal how it does come out, in fact there is still some doubt as the film ends. Unlike The Blue Angel, The Devil Is A Woman descends into some real campiness and you just can't take it seriously after a while.Joel McCrea was almost in this film. He was cast in the Cesar Romero part and after shooting a few scenes begged to be out of it. Then they actually hired a man of Hispanic heritage for one of the lead roles in a story set in Spain.At one point Marlene has to charm Edward Everett Horton. Someone at Paramount had a sense of humor in casting that one. And can you believe Allison Skipworth gave birth to Marlene Dietrich. Again someone has a sense of humor.Von Sternberg and Dietrich called it day after The Devil Is A Woman. The well had run pretty dry by then.

Steffi_P This was the last of the eight Sternberg-Dietrich collaborations and, like their off-screen relationship, their on screen partnership was by now turning a little sour. It shows.One thing that sets the Devil is a Woman apart from the pictures that preceded it is that von Sternberg seems less keen to show off Marlene's beauty. Whereas in the Blue Angel, Morocco or indeed any of the others he would use scintillating light patterns to give her face an other-worldly glow – something he would never treat the other actors to – she is now like the rest of the cast shot as if she were part of the set. Also, Dietrich's interpretation of her character is rather dull; all pouting and melodramatics, a far cry from the assured performances she gave in Morocco and Scarlet Empress. This is particularly significant for this of all pictures. For the story to work, Marlene needs to appear seductive to the audience, so we can see what the attraction is for her lovers. As it is her portrayal is unsympathetic and uninteresting, making it considerably less credible for men to be shooting each other for her attention.Aside from that there is little else going on here. The story is a loose knock-off of Carmen. Sternberg's visual constructions are pretty as always, and with the carnival setting he really gets to have fun with trailing streamers and garish masks, although the metaphor of Concha as a spider, with the streamers her web is perhaps stretched a little thin. As with the Scarlet Empress there is an attempt to choreograph the action to famous pieces of classical music, in this case Rimsky-Korsakov's Capriccio Espagnol, but it is not particularly well-developed.There are however a few treats on the acting front. Lionel Atwill is particularly good. Atwill was one of those rare character actors who would normally deliver an over-the-top supporting performance, and yet was fully capable of reining things in a bit when cast in a more serious dramatic role. And yet he still retains that "character actor" sparkle, that actually makes good comedy of lines like "A most outstanding pleasure…" In fact one of the strong points of the Devil is a Woman is that, through its cast, it manages to make comic relief out of serious moments. For example the casting of Edward Everett Horton (probably best known as Fred Astaire's sidekick) as an authority figure might seem ill-advised, but when he too confesses an obsession with Concha the scene plays for laughs. Don Alvarado is also great in an almost mute – and consequently funny – role. It's just as well these supporting players are good, as the second lead man Cesar Romero unfortunately delivers a leaden lump of a performance.It seems that with their personal and professional relationships on the way out, both Dietrich and von Sternberg were simply going through the motions on this one (although strangely Dietrich named this as her favourite of her films). Of course some might say that even a half-arsed effort from a great director and a screen icon should be pretty good, but coming after the magnificent Scarlet Empress (the one Dietrich-Sternberg film that really works) this is something of a disappointment.