El diablo es una mujer

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!

The one thing everyone seems to miss Is that Lionel Atwill looks a lot like Sternberg. Looking at the Dietrich/Sternberg collaborations it's hard not to notice that Adolph Menjou, Herbert Marshall, and Lionel Atwill seem to be Sternberg surrogates, which knowing about the Dietrich/Sternberg relationship, adds a perversity and depth to viewing the films.

If you look at the screen test for Blue Angel available on the blue angle DVD, you can already see Dietrich's disdain that seems an enormous part of her screen character in their collaborations. The Devil is a Woman is a story of a man who ruins his career in pursuit of a woman. Pretty hard not to see parallels to Sternberg's career. This was his last big budget film and one that remains a lasting testament to "l'amour fou."

In the carnival in Spain in the beginning of the Twentieth Century, the exiled republican Antonio Galvan (Cesar Romero) comes from Paris masquerade to enjoy the party and visit his friend Capt. Don Pasqual 'Pasqualito' Costelar (Lionel Atwill). However, he flirts with the mysterious Concha Perez (Marlene Dietrich) and they schedule to meet each other later. When Antonio meets Pasqualito, his old friend discloses his frustrated relationship with the promiscuous Concha and her greedy mother (Alison Skipworth) and how his life was ruined by his obsession for the beautiful demimondaine. Pasqualito makes Antonio promise that he would not see Concha. However, when Antonio meets Concha, she seduces him and the long friendship between Antonio and Pasqualito is disrupted.

"The Devil Is a Woman" is the last movie of director Josef Von Sternberg and Marlene Dietrich together. The romance tells the story of a cold- hearted dancer that has a promiscuous life and is financially supported by her obsessive lover in an unrequited love. The man ruins not only his professional life, but also his long friendship with Antonio. Marlene Dietrich is beautiful in this film and the role seems to be tailored to her. The excellent cinematography in black and white is very impressive. My vote is seven.

Title (Brazil): "A Mulher Satânica" ("The Satanic Woman")

This film takes place in Spain during the early part of 20th Century where a large carnival has just begun. It's at this time that a young man by the name of "Antonio Galvan" (Cesar Romero) spies a lovely young maiden named "Conche Perez" (Marlene Dietrich) who then offers to go for a ride with him the next morning. However, that same night, Antonio is informed by an old acquaintance that he greatly respects named "Don Pasquale Costelar" (Lionel Atwill) to avoid her at all costs as she is nothing but trouble. Pasquale then proceeds to tell him that he was once in love with her and upon confiding some in-depth details of how she broke his heart, Antonio swears that he will have nothing to do with her. Unfortunately, he soon finds that to be much more difficult than he initially realized and because of that trouble soon erupts between them. Now rather than reveal any more I will just say that this was a delightful film made especially enjoyable by the performance of Marlene Dietrich who shows why she was such a movie sensation during this time. Admittedly, this picture is quite dated and that for that reason it might not appeal to everyone. But having said that, I believe that those who like classic films from this particular period might find this one to their liking and for that reason I have rated it accordingly. Above average.

The last of the Von Sternberg - Marlene Dietrich collaborations and was certainly the loveliest in terms of photography and Ms Dietrich's costumes. But was it the best of the series? All of them (except the first - THE BLUE ANGEL) seem slightly corny by modern standards of love or sex films. The hardened nightclub singer who stumbles blindly on after her legionaire lover (Gary Cooper) in the sand dunes at the end of MOROCCO or the caring wife and mother shattering her reputation to save husband (Herbert Marshall) and son in BLONDE VENUS (doing a number in a gorilla suit) are both preposterous. But due to the director and his sultry star we don't care and still enjoy both. In terms of story line, only THE SCARLET EMPRESS has a stronger one, but that is based on the life of Catherine the Great and the death of her idiot husband Peter III of Russia (Sam Jaffe). Odd as it may seem this film may be the best in terms of script in the series.

Concha is a man-eater, and Don Pasquale is her favorite meal. His infatuation is used by her to full advantage, and she literally destroys his reputation and career. But she also destroys other men. A bull fighter she humiliates Pasquale with (Atwill tells us) subsequently committed suicide. And she seems able to twist and turn both the Mayor (Edward Everett Horton) and the young radical (Cesar Romero) with ease as well. So she is a devil, who gives a few moments of pleasure to the men but chews them up alive.

But the conclusion is curious. Pasquale rejects while recovering in the hospital from the wound in the duel. She expects him to call for her, but he doesn't and it strikes her as odd. Her desertion of Romero at the Spanish/French border seems in keeping with her general behavior to all her men...but it suggests that Pasquale's act of rejection has changed the formula a bit. Is she going back to try to tempt him again (most likely) or is she curious at the experience of a man rejecting her finally. Von Sternberg wisely leaves the issue in the air as this great movie ends.