Le cantique des cantiques

Were this not made by Rouben Mamoulian and were it not to star Marlene Dietrich this picture would be rubbish but it is made by Rouben Mamoulian and it does star Marlene Dietrich and consequently it's fabulous.

Marlene Dietrich gives an outstanding performance. Her portrayal of an innocent naïve country girl becoming an unhappy woman of the world is both exaggerated to near-melodramatic levels yet is also completely credible and convincing. It's not a happy transition and you personally feel a stab of pain as you sense each subtle change in her personality. You want her to stay that simple, naive sweet girl but realise, as you grow to think you know her, that nobody's forcing her down these paths. Everything which happens to her, she does it to herself. She's a wonderfully flawed cleverly written character.

Even for a 'pre-code' film, the exploration of sexual desire is unusually and overtly erotic. Dietrich's convent-girl character Lily, excited by finding herself in the big city becomes a nude model for a local sculptor and that inevitably leads to a sexual awakening in both herself and the sculptor. As I said, such a load of nonsense, clearly written by a frustrated spotty teenager would need Paramount's A Team to make this turkey float - but they did it in spades and peppered it with some surprisingly sophisticated sexual humour.

Sometimes Mamoulian is less than subtle such as when he has the sculptor caressing the breasts of his life size statue whilst watching the shadow of his muse undress. It's 1933 yet incredibly this is still one the most powerfully erotic yet beautifully sensitive scenes in cinema. That naked, put white statue features throughout the film; it's her Dorian Grey, it retains that Garden of Eden innocent beauty whist the real Lily is gilded with the world.

Another earlier scene which is pivotal to Lily's evolution is when she's first asked to take her clothes off. Just using her eyes, you can see Dietrich has just discovered the immense power over men her naked body has. It's a surprisingly honest depiction of sexuality, identity, obsession but above all: whatever love is. Stevie Nicks wrote that love's a state of mind and this film shows what love means to the minds of all its different characters. It can be creative, destructive, enriching and vindictive but for Lilly it will never be as she dreams it could be as in Solomon's Song of Songs.

The plot to this film is pretty simple, but wow, Marlene Dietrich is fantastic in the leading role, and director Robert Mamoulian makes the most of his actors and the script in crafting a beautiful film. Dietrich skillfully handles her role which shifts from a naïve young country girl, to a model and lover of a sculptor, to the unhappy wife of an older man, and lastly to a cabaret girl. Her performance is especially impressive for the time, when over-acting and exaggerated facial gestures were common; Dietrich by contrast is polished and smooth, sexy in a sultry, understated way, and quite a singer on top of all that. Director Robert Mamoulian, who also directed the brilliant Dr. Jekyll and Mr. Hyde in 1931, pulls all the right strings here, and there are some beautiful shots, examples of which are shifting clouds in front of the moon and sunlight reflecting off the water as Dietrich is out riding. The movie is also elevated by quotes from the poetry of the Biblical book of the Song of Songs, and it's a nice mix of sophistication and pre-Code naughtiness. The scene when Dietrich disrobes for a nude modeling session, where Mamoulian cuts to sculptures to represent her body, brings a smile. The plot itself isn't going to blow you away, but Dietrich will. Very enjoyable.

"Let him kiss me with the kisses of his mouth; for your love is better than wine." Song of Songs 1:2

While in the times of laws and restrictions, Israel was granted Solomon and his poetical spirit of wisdom, in the early years of cinema, Hollywood was granted Rouben Mamoulian (1897-1987) who brought a soul to his motion pictures. At the beginning, I would like to quote his very symbolic statement that defines Mamoulian's exceptional perspective on cinema (from "Directing the Film" by Eric Sherman, 1976).

The innovative director said: "...the arts are the true universal medium. The whole thing should serve to remind you that man still has a potential, that he's not just crawling on earth. He still has wings and he can fly. We need this reminder of faith, of optimism, to reestablish the dignity of a human being."

When we analyze his movies, particularly the two he made in 1933 with two greatest stars of cinema, Greta Garbo and Marlene Dietrich, we realize that there is something unique in the direction, in handling of the plots, in imagery and in the whole approach. The director has a great degree of love and respect towards his female stars and allows them to go beyond themselves in every respect. While "Queen Christina" clearly appears to be a Garbo film, "The Song of Songs" appears to be a Dietrich film. Why?

The whole story of THE SONG OF SONGS occurs to deal with the life journey of the main character, Lily Czepanek (Marlene Dietrich). After the death of her father, a peasant girl, Lily, leaves for Berlin where she stays at her unemotional aunt, Mrs Ramussen (Alison Skipworth) who runs a bookshop. The thing she brings to Berlin and appreciates most is the Bible, particularly its Song of Songs praising the triumph of love. Soon, there appear two men in the life of the pure dove: one is the young sculptor Richard Waldow (Brian Atherne) who leads a life of an artist; the other is the rich, materialistic, conventional and heartless Baron Von Merzbach (Lionel Atwill) who has a power transform a shy girl into a sophisticated woman. Is there anyone on earth who can love her soul? Is there anyone whose heart is warm? Does she appear to be strong enough to defend her sweetest affection? Will she memorize the beautiful rhythm of the lovers' hearts?

Marlene Dietrich portrays the character with unbelievable charm, flair, a bit of eroticism. She beautifully depicts a change of heart and many sophisticated feelings, including shyness, enthusiasm, sorrow, disillusion and coldness. She is given some of the most beautiful, poetical moments in the film, including the fabulous spring sequence which appears to be like a touch of southern breeze, like a magical journey into a lost paradise, like a gentle smile of a beauty that seems to overwhelm and supply us with the glimpse of bliss. Marlene is also unforgettable with her eyes and the whole posture when Richard tells her to take her clothes off and... Another moment that is hard to skip is when she, having gone through all this experience, enters Richard's room and sees the sculpture...her face is illuminated by memories, by longing, by sorrow rooted in a loss. A key moment is also her song "Johnny, when will your birthday be" Marlene sings it memorably and wears a gorgeous costume by Travis Benton. But here, there is a need to compare...

Mamoulian appears to be creative when dealing with both Greta Garbo and Marlene Dietrich. The both are given the most sensitive moments in their careers and, although the two 1933 plots have little in common, there appear to be huge similarities. Mamoulian brings out something unique from his stars' depths: all the beauty, all the talent to raise and overwhelm. While Ms Garbo hugs the pillows in the inn where she has experienced love and touches the objects to memorize the room, Ms Dietrich touches the soil and kisses the grass. While Ms Garbo is a beauty, a queen of snow, Ms Dietrich is a pleasure, a girl of spring.

Other cast give more or less decent performances. Lionel Atwill nicely portrays the cold baron, who is a representation of riches and conventions that have little to do with genuine love. He lusts for the innocent dove in order to take advantage of her and, finally, deprive her of dreams and illusions. He is the one who lustfully smokes a cigar when looking at the drafts of her body, his hand trembles and his smoke is on the painting. Brian Atherne is not particularly memorable as the sculptor Richard but he also has some of his good moments. Alison Skipworth has some witty moments as the conservative heartless auntie who does not tolerate much about the youth not being a saint herself...

Another merit of the film are the unique close-ups of the sculptures. The images appear to speak with grandiosity of sculptures and sweetness of love song. The symbolic moment when Lily smashes the sculpture appears to depict the change that no longer allows to turn back.

All in all, I have waited to see the film for a long time and...my patience was rewarded. I highly enjoyed it as a motion picture made so sensitively and poetically by Rouben Mamoulian. Don't ask me why...Perhaps, it is because of Marlene, perhaps, it is because of its beauty expressed in many scenes, perhaps, it is because of its great message: Be alert and don't skip an awakening love. Stop for a while and cherish the miracle of blossoming trees in spring and the joy of singing birds. This is a single gift and its bliss can never come again...

I dedicate this review to my friend whose name is written in my heart. It is thanks to him I have seen this unforgettable film.

Marlene Dietrich stars as young German peasant girl Lily. After her father dies, leaving her an orphan, she travels from her old home in the country to the big city of Berlin where she works for her harridan of an aunt (Alison Skipworth). It's not long before she draws the attention of handsome sculptor Richard (Brian Aherne) who convinces her to nude model for him. She also attracts the attention of creepy older Baron von Merxbach (Lionel Atwill) who wants her for his own.

From the "scandalous" nude modeling scenes to the resulting statue, from the seamy dialogue to the ultimate fate of Lily, this classy film features more than its share of pre-code attributes. Director Mamoulian brings his usual attention to set design, lighting and camera placement. Dietrich is very good here, transitioning believably from the naive waif of the film's start to the jaded, world-wise woman of the finale.

Interesting to see Dietrich, early in her Hollywood career, working with a director other than her Pygmalion, Josef von Sternberg. The latter director provided beautiful but often-static set-ups for framing her, while Mamoulian's musicality and fluid camera release her. (Think also of his direction of Garbo in "Queen Christina," and that film's famous scene in which she moves lovingly and rhythmically--it was timed to a metronome-- around the bedroom, watched by her lover. )

I think this is one of Dietrich's best performances. She passes through many phases, from naive young girl to earthy woman. Her song "Johnny" is sublime--and moving, when she angrily tears into the second chorus after spotting in the audience the lover who had abandoned and disillusioned her.