A Pecadora

Both Marlene Dietrich and John Wayne are at their physical peak in 'Seven Sinners', a South Seas island romp that concludes with one of the most colorful barroom brawls in movie history. Dietrich is a Sadie Thompson kind of character, island hopping as she is deported from one tropical island to another--always attracting a bunch of attentive admirers with a knack for inciting riots. It's a film that's briskly entertaining from start to finish.

Dietrich has never been more appealing, gorgeously gowned and photographed to advantage whether appearing in skin-tight glittering gowns or sporting lacey parasols or wearing a sailor's uniform. She projects the same sort of character she played in 'Destry Rides Again'. John Wayne is young, handsome and earnest in one of his earlier roles. James Craig can be spotted briefly as an admiring ensign. Mischa Auer and Oscar Homolka have some colorful supporting roles, but the most enjoyable member of the cast is Billy Gilbert as the night club owner who sees trouble brewing the minute Dietrich shows up at his tavern.

Breezy entertainment with a couple of good songs done in the stylish Dietrich manner.

After Marlene Dietrich at a new studio, Universal, had made something of a comeback in Destry Rides Again, the studio was understandably looking for new properties to follow it up.

They certainly got one in Seven Sinners, a really great blend of satirical comedy and drama. Certainly Dietrich is no poor man's Sadie Thompson. One wonders why she never did her own version of Rain. She pokes fun at that type of character, but there is a skillful blend of both drama and satire in this film.

Stagecoach was done the year before and with it John Wayne finally joined the list of A players. Director Tay Garnett had Wayne in mind for this film, but Dietrich would have the final approval. The story goes he deliberately arranged for Dietrich to have lunch at the studio commissary at a time Wayne would be there. She took one look at Wayne who reminded her so much of former lover Gary Cooper, she said to Garnett in that Dietrich baritone, "Daddy, buy me that."

This is Dietrich's film, but there's enough action to satisfy any Wayne fan. Tay Garnett assembled a good supporting cast with good girl Anna Lee, Dietrich retainers Mischa Auer and Broderick Crawford, befuddled owner of the Seven Sinners Cafe Billy Gilbert, and the very sinister Oscar Homolka.

Up until All the King's Men, the part that Broderick Crawford played here was a typical part, the dumb lug who's the hero/heroine's friend. He does it well, but Crawford resented the typecasting. He was quoted as saying that while he never considered himself the world's greatest wit, he did resent playing half a one all the time back in the day. This was Crawford's only film with Wayne and that's interesting because both of them were heavy boozers.

Dietrich like in Destry Rides Again has two good songs to sing written by fellow German expatriate Frederick Hollander and Frank Loesser, I've Been in Love Before and The Man's in the Navy. She also sings I Can't Give You Anything But Love, one of the great standards back in the day.

Seven Sinners is classic Marlene Dietrich one of her most enjoyable films and John Wayne fans will like it also.

An American drama; A story about a saloon entertainer banished from various American protectorates in the Pacific, who uses her femme-fatale charms to achieve her aims including wooing a Navy officer in a South Seas gin joint. This is an enjoyably exotic adventure with raffish comedy, romance and glamour. The film's enduring strength is confined to how Marlene Dietrich thrives as the flamboyant torch singer and scarlet woman. Dietrich satirises the Shanghai Lil stereotype sirens of Far East showbusiness past with aplomb and humour. The young and handsome Naval Lieutenant playing amorous to her is John Wayne, who smooches up to create some nice chemistry. Broderick Crawford, Mischa Auer, Samuel S Hinds, Reginald Denny, and Oscar Homolka all give fine supporting performances. The production standards are good. The sets are reminiscent of film director Josef von Sternberg's films. The atmosphere of a cheap, evil island cafe is captured well. The bar-room finale is preposterous but the rumbustiousness and playful excess the audience experiences from the beginning was energy that had to go somewhere, so the film going out like a thermobaric implosion seemed like a fitting fortissimo coda.

Its fun and spunky enough, but it has the schizophrenic feel of a "B" film with "A-list" actors. It was made by Universal, which had taken a chance the year before, and cast Dietrich in "Destry Rides Again" following her inclusion in the famous "box-office poison" list. Wayne was just transitioning from shoestring Republic Pictures; he had made zillions of minor films, and his career was just starting to take off. Dietrich often seems to be in a different film altogether; the way she looks and acts goes way above what the material calls for - she was always extremely conscious of her "look" and image. Her musical numbers are fun, especially the awesome nightclub number in Navy uniform drag - who else could pull THAT one off so successfully!

Marlene Dietrich stars as Bijou, a nightclub singer whose mere presence causes men to riot. Her unholy aura causes her to be exiled from one South Pacific island as the film begins, so she heads out for another island with her lunkhead bodyguard Little Ned (Broderick Crawford) and two-bit magician Sasha (Mischa Auer) in tow. It doesn't take long for Bijou to land a new nightclub singer job, and even less time for her to set the menfolk aflame, including sleazeball Antro (Oskar Homolka) and US Navy Lt. Dan (John Wayne).

This meandering flick changes moods almost as often as Dietrich changes outfits, from silly farce to heartfelt romance to menacing drama. The supporting cast is excellent, although Dekker is wasted as a drunken ship's doctor, and Crawford's loud brute grows a bit tiresome. Dietrich, who was 38 at the time of filming, looks ten years older, thanks to too much weight loss, an unflattering hairstyle, and some regrettable outfits. She's beginning to resemble the slightly inhuman mannequin she would become in the last half of her life, too artificial and almost a parody of her 30's heyday. Even her throaty singing seems like a takeoff on her own inimitable style, like someone doing an exaggerated impersonation of Marlene Dietrich.

Wayne's admiration onscreen seems very genuine, and it's been stated by multiple sources that it continued offscreen, as well. The climactic barroom brawl loses some steam by using cartoonishly sped-up action and an obvious stunt double for Wayne, although it does provide the unexpected sight of seeing John Wayne in a fist fight with Oskar Homolka.