Die blonde Venus

Josef von Sternberg would, no doubt, dismiss this film as one of his lesser works. Yet, to me,"Blonde Venus" sort of defines his relationship with Marlene Dietrich. The combined attraction of the harlot-mother gives Marlene's acting both sexual radiance and that intimate, moody quality that is so unique to her.

Just watch her in the scenes with her baby boy. She is lovely, glamorous, yet totally attentive to the child's needs, protective and unselfconscious in a way that only Carole Lombard (see "Made for each other" for evidence) managed back in those days. Her presence is so strong that she makes the male stars seem awkward and rigid. Herbert Marshall looks ill at ease, (probably from lack of directorial attention) while Cary Grant sails through the movie, unblessed by inspiration.

This is Marlene's film, through and through. The plot is silly beyond words (suffering in mink, writ large!) but Marlene makes it memorable. Her close-ups in the scene at the railway-station when she realizes she has lost her family tells it all. A lost soul with nowhere to go but down. Von Sternberg (or some intrusive producer) tacked on a happy ending, but the movie really ended there, on a bench. The rest is just wish-fulfilment.

Billed as The BLONDE VENUS, a sultry German cabaret singer will do anything to save her sick husband and care for their child.

Acting under the flamboyant direction of her mentor, Josef von Sternberg, legendary Marlene Dietrich fascinates as a tender mother fiercely protecting her small child, who spends her evenings as a seductive stage siren, captivating audiences in America & France. She is equally good in both postures, her perfect face registering deep maternal love and sphinx-like allure. Dietrich is incredibly gentle crooning an old German lullaby at her son's bedside, while the contrasting image of her emerging from an ape suit to sing 'Hot Voodoo' in a nightclub is one of the Pre-Code Era's most bizarre images.

Two British actors compete for Marlene's attention. Distinguished Herbert Marshall, with a voice like liquid honey, is ideally cast as Dietrich's conflicted husband. Playing a chemist poisoned by radium, his face reveals his humiliation at having to be supported by his wife; later, he manifests pent-up rage when he discovers her 'betrayal.' Cary Grant, just on the cusp of becoming a major film star, plays a powerful political boss whose arrogance mellows as he pursues Dietrich's affections.

Little Dickie Moore, one of the OUR GANG members, is terrific as the infant son who is the bridge between Dietrich & Marshall. Here was a kid who could really act and tug at the viewer's heartstrings. Sidney Toler is amusing as a low-key detective. Gene Morgan, as a talent agent, and Robert Emmett O'Connor, as a theater owner, very realistically portray denizens from the sleazy underbelly of the entertainment world.

Movie mavens will spot some fine performers in unbilled cameos: silly Sterling Holloway as one of the student hikers in the first sequence who discovers Marlene skinny-dipping in the forest; Clarence Muse as a stuttering bartender; dear Mary Gordon as Marshall's informative landlady; big Dewey Robinson as a gruff greasy spoon owner; wonderful Hattie McDaniel as Dietrich's New Orleans maid; and prim Marcelle Corday as Marlene's maid in Paris.

Paramount gave the film lavish, and slightly decadent, production values. The live chickens flapping about in Dietrich's apartment during the French Quarter sequence are a nice touch.

This is one of the greatest films that show off life in the great depression. BLONDE VENUS concerns Helen (Marlene Dietrich) a young loving mother and wife. In order to help makes ends meet, she takes a job as a showgirl. She becomes more distant from her unhappy husband (Herbert Marshall), while taking up with a young playboy (Cary Grant) The film has a wwonderful dreamlike quality thanks to it's talented, visually oriegntated director- Josef von Sternberg. Our first visions of Dietrich, is of her swimming nude in a sunlit pond. The images are almost bleached out. When she takes the showgirl job, the sets are cluttered with plants, dresses and ladies underwear on hangers, junk. It's a basic exotic/erotic jungle. Everything ahs this unbeatable dreamlike look to it. This look is a visual metaphor for the entire film, which visually captures Helen's downward spiral, and rebirth.

This is the 5th of the 7 legendary collaborations between Dietrich and von Sternberg, and the only one set in the U.S. (the other 6 are set in Germany, Morocco, Europe, China, Russia, and Spain). All of the principals, including the director, were born in Europe. For some reason it is my personal favorite, and the only one I enjoy watching repeatedly. Probably this is for the outrageous musical numbers, which display Dietrich's incredibly self-assured command of her environment (what can top "Hot Voodoo", but I really really love the glittering white top-hat and tails number particularly). This would have been the only time during filming that von Sternberg could not totally exercise his robotic direction of her; she gets to be more "herself" as a real performer, and her energy-level comes way up. Also I'd venture that since the story is set in the U.S. it makes it more challenging to present her as "exotic" (as opposed to, say, China). I love how von Sternberg plays her character's flight South, into increasingly lurid, run-down, and crude environments. The technical side of movie-making had made huge strides; film-stock was becoming much more uniform and high-contrast, and sound-recording had improved greatly in just a few years; von Sternberg was able to make full use of this. The film feels snappy and tightly-paced, and has mostly abandoned silent-film mannerisms.

In comparison to their next 2 films, this one feels quite grounded. The subsequent "Scarlett Empress" and "Devil is a Woman" would be increasingly baroque and outrageous excursions into fantastic style, excess, and European decadence, which kind of left their American audiences in the dust - and helped Dietrich land on the infamous "box-office poison" list.

This is a pre-Code film, and it routinely tweaks conventional morals. The nightclub in which Dietrich goes to work is clearly a high-class "speakeasy"; Prohibition was still in effect at the time. Also, its always a bit confusing for modern audiences when dollar-amounts are mentioned in old films. The personal check which Dietrich receives from Cary Grant is for $200 as I recall; in current dollars that would be something more like $2,500 and was an amount which would have set Depression-era audiences reeling with its clear implication of what Grant had received in return!

This is the first chance Cary Grant had to do a major co-starring role, and its the earliest of his films available on video. Another IMDb "comment" mentions Dietrich and Mae West supposedly "falling in love" with him, which is a laugh! Dietrich (in her daughter's bio) referred to him as the "shirt-seller" (Grant was selling men's shirts at the studio, as a sideline to make extra money); West preferred, to put it delicately, men who were a little more red meat (I think that Grant was already living with Randolph Scott at the time of filming; they used to attend Hollywood A-list parties as a couple, which Scott could get away with partially because of his very blue-blood East Coast family connections).

Originally available on LaserDisc (as a 2-disc set with "Shanghai Express").

This is Marlene Dietrich at her best. From reading the reviews here all I can say is there's a whole lot of people in this world who are way too cynical. Marlene Dietrich and Herbert Marshall loved each other in this film, for crying out loud. There is no other way this movie could have or should have ended, without seeming contrived and false. And maybe Marlene Dietrich couldn't sing. So what ? The only actress in cinema movie history who ever rivaled her in sex appeal was Greta Garbo. This is a great movie.