El ángel azul

This movie should merit a place in the upper region of the 250 top movies, somewhere in the neighborhood of "Citizen Kane" and "Twelve Angry Men". Apparently it is not very well known in the USA.

In Germany and in countries where the German language is rather familiar, it is rightly considered as one of the classics of cinema.

Amazing, that Sternberg, only a couple of years after the invention of the "talky" could produce a masterpiece that has seldom been surpassed. It was this movie that launched the carreer of Marlene Dietrich, with her famous song "Ich bin von Kopf bis Fuss auf Liebe eingestellt".

I had seen the movie many years ago. When I saw it for the second time about a year ago, I realized that Emile Jennings acting, as the rather silly teacher at the local grammar school who sacrifies his career because of a cabaret girl, was not less impressive than that of Marlene Dietrich. A pity that I did never see another film with this great actor.

First -and only- time I saw Der Blaue Engel, I was a boy of about 13-14 years old. Even though this was over 35 years ago, I still remember how this movie blew me away. I came out of the theater with a new understanding of the world and the human condition.

The story is in essence about love, and what it can make a person do. It is also about what people will do to each other, a theme this movie takes to it's extreme. The acting is supreme, the atmosphere breathtaking, the music score fabulous. Marlene sings one of the great songs in movie history; German cabaret pur sang.

This is a European film in the best sense of the word. It gives the spectator the feeling of being picked up and dropped somewhere in time and place, to witness a dramatic sequence of events in the lives of a small group of people. It starts out jolly enough, but pretty soon you feel that things are going to go terribly wrong. And sure enough, they do.

The young boy that was I, left this movie with a weird mixture of feelings. On the one hand the fear of ever being trapped in such a romantic cul-de-sac, and of losing all human dignity. On the other, a deep longing to experience those bitter emotions. Isn't this the greatest accolade for a tragedy: that it moves you to tears, but at the same time makes you want to experience the sad events that caused those tears?

... As I was surprised at the way college students behave and the way that they were treated in Weimar Germany as depicted in this film. Professor Immanual Rath (Emil Jennings) behaves tyrannically towards his students, and they try to undermine him at every turn. They mercilessly bully one student just because he wants no part of their nighttime carousing. In short, they act like high school kids, not college students, so I am somewhat wondering if this was a college as I understand the word in the United States. But I digress.

Rath finds postcards with music hall performer Lola (Marlene Dietrich) on them among his students' things, and initially goes to The Blue Angel to catch his students in the act of - I dunno, acting like college students? - again, I'm not sure why there's the need to so tightly control the behavior of adults. But Rath gets caught up in the atmosphere himself. He's been shut inside his ivory tower so long that he's forgotten what the outside world is like, and once he ventures out, it's game over. He's utterly unequipped to see Lola for who she really is - a woman who makes a living by charming men, and who does a good job of it. When he has the opportunity to talk to her and becomes sympathetic, he suddenly sees her as a victim of what we call today human trafficking rather than a corrupter of his students.

The more time he spends with her, the more he falls for her, but by proposing to her, he again puts her into a box in which she doesn't fit, that of a wife who will do the wifely duties he expects of her. Lola, though never explaining herself and that's part of the greatness of the film, seems amused by Rath's naive and simple ways and goes willingly into the marriage. But, again, Roth doesn't realize that marriage probably does not mean to Lola what it means to him.

Although Jannings puts in a powerhouse performance, I understand why Marlene Dietrich stole the show. Rath changes drastically over the course of the film, and he has to sell that, but Dietrich has the more subtle job of selling the changes in how Rath sees Lola without changing who Lola fundamentally is. Director Von Sternberg gives her much less to do than in their subsequent collaborations, but she does the most she can with the material.

There's lots that's never said. For one thing there is, from the first time Rath enters The Blue Angel, the haunting presence of "The Clown". The actor who plays him is not uncredited- his role is billed as "The Clown". Rath sees him with that constant sullen expression, hears him being scolded and chided by the empresario of the troupe, and you never hear him speak. Considering all that happens, I'm wondering if he too is a past husband of Lola's. One that she also cast aside once she got bored and perhaps never bothered to divorce. After all, she can't help it, as she is so fond of saying.

The only bad thing I can say about it is the pacing, which seems to be a problem in many Von Sternberg films. But it is worth sticking with to the end.

This will basically be reinforcing what was said in my review for the German-language version, being the same film but this time in English.

Despite Marlene Dietrich actually appearing in several silent films in her native Germany, it was 'The Blue Angel' that made her a star and rose her to international fame. It was also the film that started the famous and iconic 7-film collaboration of Dietrich and director Josef Von Sternberg. 'The Blue Angel' may not be the best film of theirs, but is still very good and a knockout first collaboration for them.

It is agreed that the German-language version is superior. The English-language version is still very good and retains all the things that makes 'The Blue Angel' in German as good as it is. The English "dubbing" doesn't always sound natural and felt rushed at times, with the actors not being at ease with the language entirely.

As a film, 'The Blue Angel's' only real drawback is to do with pacing, taking a little too long to get going and then later on parts feel rushed, abruptly introduced and not quite developed enough.

Most memorable about 'The Blue Angel' is Dietrich on cruel and seductive form while singing her songs with sincerity, standing out especially being her iconic rendition of "Falling in Love Again" with her in a top hat and black stockings perched on the bar stool. Her character may not be likable but it's a complex one and Dietrich succeeds in making her real.

It is easy to overlook Emil Jannings, in his first talking picture, however, the story of 'The Blue Angel' really being his, detailing of an enamoured man led to his downfall. It is a performance however underserving of overlooking, for it is a great performance full of wonderful moments (like his facial expression in the mirror and at the end), succeeding in making a real character in a way that's eccentric and poignant.

Kurt Gerrer, who met a tragic end just over a decade later, is also good.

Sternberg directs as sumptuously as to be expected and with adroit atmosphere. 'The Blue Angel' looks good, aside from occasional choppy editing, especially in the clever and luminous use of light and shadow lighting and cinematography that's atmospheric and classy. The music fits beautifully and enhances the mood, "Falling in Love Again" being a signature song of Dietrich's for very good reason.

Further good things are a script that has a good balance of the comedic and the tragic, done amusingly and movingly, and a story that's disturbing and emotional, especially the heart-wrenching ending.

Overall, very good film and more than just historical interest. 8/10 Bethany Cox

I think this is more a commentary on the human condition than it is a movie review. von Sternberg presents Professor Rath as pompous, rather inflexible and naive, and then reduces him gradually to a pitiful, self-debasing wretch - much like Tyrone Power's character in "Nightmare Alley". Rath, appears to me, not so much the victim as a drunken jaywalker who wanders out into traffic and is totally shocked when he is hit by a truck. Emil Jannings, without doubt, delivers everything that von Sternberg could have asked for.

I have never been a big Marlene Dietrich fan, but I have to admit that, in this early effort, her utter sexuality and the casual way she dispenses it is hypnotic. Her character is also complex. Between her first encounter with Rath and those final scenes, her attitude toward him changes from amusement and ridicule to concern, pity, and even affection. His return to his home town and his descent into total degradation is painful to watch, yet she chooses this opportunity to humiliate him even further by offering herself to Mazeppa while he watches. I'm baffled.

The corruption and hopelessness of the German cafe circuit is a perfect backdrop for this study of the human condition. When one reaches their absolute nadir - like Rath - there are few choices left. Suicide, violent hostility, or if you are lucky - the determination and will to climb out of the cesspool. Rath was a day late and a reichsmark short. I would like to think that if he had more time he would have made it.