Anjo

This is one of Ernst Lubitsch's less conspicuous films, while the performance of Marlene Dietrich in it is the more outstanding. Herbert Marshall is all right, he played against her before in "Blonde Venus" four years earlier, he was a jealous husband even there, but that was Josef con Sternberg, while Ernst Lubitsch is a completely different thing, although both are Viennese, and Marlene Dietrich is German. Melvyn Douglas is the tricky thing here. He makes a perfectly abominable offensive character insisting on constantly importuning on her, and you can't understand how she can tolerate it, but Marlene is Marlene, always superior to any critical situation, and also here she finally provides a solution, but not without the clever psychological empathy with her on the part of Herbert Marshall. Both Melvyn and Herbert appear, however, as perfect dummies at her side, while she makes the entire film worth while and watching. It's very European, while poor Melvyn keeps blundering on without noticing anything of the subtleties going on. She enters as a mystery of an intrigue, but when she has solved the knot she is already gone.

Wonderful Lubitsch comedy about a distracted husband, a neglected wife and an ardent suitor that has all the magic, humor, romance of the directors previous work. Dazzling camera work by Charles Lang make Deitrich look positively luminous. All the cast are perfect. The audience I saw this with at the LACMA Museum screening were utterly entranced by this neglected masterwork. Kudos to UCLA for restoring this treasure to its original splendor and to LACMA programer Ian Birnie for giving us the opportunity to see this little gem in all its glory. A 10 out of 10.........

The Lubitsch touch is omnipresent in this relatively unknown but extraordinary romantic comedy. The theme of a potential marital infidelity of a disaffected upper class wife (a gleaming Marlene Dietrich) is dealt with unusual sophistication and insight, building up slowly to a brilliant denouement, while the core dilemmas and the predicament of the main character are continuously and subtly underscored. The confrontations between the characters are a delight of restrained pathos, whereas Lubitsch, unsurprisingly, perfectly recreates a confined world of rigid social norms that suppresses any emotional profusion. All the performances are top notch, the secondary characters are equally memorable and the whole film is pervaded by the genius of one of cinemas most charismatic directors, Ernst Lubitsch. One wishes that modern romantic comedies had only maintained even a fraction of the wit and incisiveness that Lubitsch established as a norm in the 30s.

Immediate promise of romance and flourishes of drama to flavor light humor and amusement: it's very easy to simplify 'Angel' to the most basic description - but also foolish. This is a wonderfully enchanting and entertaining picture, rich with detail in so many ways. The costume design of Travis Banton is exquisite and fetching, as well as the set design and decoration. Much credit to Charles Lang's vibrant cinematography that, in combination with fine lighting, only serves to further amplify star Marlene Dietrich's already irrepressibly radiant beauty and natural charm (as well as make every scene, generally, very pleasing to the eyes). And even these only just match the brilliant wit and intelligence of the adapted screenplay concocted between Samson Raphaelson and Frederick Lonsdale. 'Angel' distinctly declines the sort of robust comedy and absurdism that we recognize in many of director Ernst Lubitsch's other pictures, but in its stead we're treated to sharp cleverness in the craft of every word of dialogue, every character, and every scene. It's marvelously absorbing and immediately rewarding as a viewer, and just as fully engaging as any more outrageous romp or dire drama.

The very arrangement of each moment, on paper and on film, is bursting with such barely restrained anticipated tension, but is also so tremendously perfect, resonant, fluid, and organic that the picture could only be described as mellifluous in its presentation. And that quality is a fine reflection, of course, of the performances given by the cast. This goes for everyone, even Edward Everett Horton and Ernest Cossart in smaller supporting parts as Graham and Mr. Wilton, but nonetheless exhibiting outstanding and gratifying presence, poise, and delivery. Herbert Marshall and Melvyn Douglas equally command terrific nuance and precise personality as Frederick Barker and Anthony Halton respectively, splendidly calming and electrifying at the same time as the two men both build the unspoken pressure and keep it under control with their charisma. Above all, Dietrich demonstrates stupendous range tempered with fabulous, very deliberate subtlety, and is marked with an irresistible gracefulness and allure that heightens all these facets of her acting. Well and truly, every portrayal here is spotless, pristine as any comparison our imagination may conjure for the word.

The most lofty of descriptors can only do so much to begin to convey the great elegance and refined artistry of this movie. Why, I haven't even touched on the story here, though suffice to say that it handily stays in step with every other piece of praise I've proffered. I began watching with no foreknowledge save for the names involved, and perhaps I already had high expectations based certainly on Lubitsch's direction, but also Douglas and Dietrich's attachment. And still any presumptions I may have had before watching were far exceeded - this is an impeccable, striking feature, an exemplar of the sublime skillfulness and aesthetic techniques of film-making that can be applied even to more common narratives that eschew experimental or avant-garde ambitions. I have watched many lovely, captivating pictures, but can recount very few that have been so readily, completely bewitching. Viewers should know the genres the title plays with before committing to it, but otherwise I'd have a hard time believing this couldn't be enjoyed by all, nor thinking of anyone I wouldn't recommend it to. 'Angel' is a phenomenal slice of 30s cinema that stands tall with the very best of both previous years and subsequent decades, and is well worth seeking out wherever one may find it.

This is a Dietrich film, her last starring role at her home studio, Paramount. She is supported by 2 of the top Hollywood leading men - Douglas and Marshall - and dressed sumptuously by Travis Banton. The film should have been a money-maker for its studio, but apparently it was too sophisticated for the small-town public and she became 'Box Office Poison' after its release. Variety, in its disparaging but humorous review, said that you could hang coats from Dietrich's eyelashes. I attentively kept an eye on those eyelashes and have to admit that they ARE long, but not long enough to hang a coat on.

I liked this film. I especially liked Dietrich's aristocrat diplomat husband - Marshall - devoted to duty to fend off WW2. And I liked Dietrich. She has servants who attend to all personal and household tasks and therefore she has nothing to do. She is bored. She flies to Paris and has a romantic evening with a stranger - Douglas - a piano playing playboy who is infatuated with her. In the end she chooses the man who is the only one who can give her the happiness she craves. Females can learn a trick or 2 or more re how to attract and keep a man from closely observing Dietrich in this film. In what was once common terminology, she is a "man's woman." How times and the culture have changed.

BTW, 'Angel', although it has bits of comedy supplied by the servants, is not a comedy, but is instead a light-hearted, sophisticated marital drama.