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"...will always have a place in film history as the movie that brought Marlene Dietrich to international stardom." - Roger Ebert
- Hans Albers - Mazeppa (the strongman)
- Carl Balhaus - Pupil Ertzum
- Reinhold Bernt - The clown
- Gerhard Bienert - Policeman
- Wilhelm Diegelmann - Captain
- Marlene Dietrich - Lola Lola
- Ilse Furstenberg - Rath's Maid
- Kurt Gerron - Kiepert (the magician)
- Emil Jannings - Prof. Immanuel Rath
- Robert Klein-Lörk - Pupil Goldstaub
- Rolf Müller - Pupil Angst
- Charles Puffy - Innkeeper
- Hans Roth - The Caretaker of the Secondary School
- Rosa Valetti - Guste (the magician's wife)
- Roland Varno - Pupil Lohmann
- Eduard von Winterstein - The director of school
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Member Reviews (7)
Josef von Sternberg's dark masterpiece, "Blue Angel," is an ideal crucible for viewing the cultural tensions of Germany's Weimar Republic. In the film, as in real life, the bursting, restless energy of the radical, bohemian art scene clashed head-on with the rigid morality of icy, old-world Protestantism. The great Emil Jannings plays a fusty, blustering school teacher who trails his errant students to a den of vice -- a dance hall whose star performer is Lola-Lola, a laughing, teasing temptress played by Marlene Dietrich, who easily subdues the pompous professor, and enslaves him without hardly lifting a finger. The film is brilliant in that it was an emblem of Weimar's cultural licentiousness, showing graphically (for the time) the scandalous, vibrantly sexual night life of Berlin, even as it ends up as a morality play. The professor, initially an object of irrelevance and ridicule, swiftly slides into a pit of subjugation and depravity, ending up as a broken man living outside the bounds of the "decent" society he once upheld. Thus Von Sternberg is allowed to titillate his audience while, on the surface at least, reflecting the moralism of the traditional mainstream. Aside from the fascinating political and social content, the movie is brilliantly constructed, beautifully shot and, perhaps most importantly, was one of the early vehicles that made Dietrich -- still voluptuous and youthful in her late twenties -- into an international star. A great film, not to be missed. (Jose Seis)
Coming out of the expressionist era, professor Rath (Emil Jannings ), still exhibited some of his mnemonic traits. This transition from silent to sound was a challenge for him ( my opinion ). Dietrich had her baby fat with her, later lost it.
What many people do not know about this movie is that the great German-Jewish Actor Emil Jannings, who won Oscars in Hollywood for roles in the silent movies, 'The Way of All Flesh,' and 'The Last Command,' was among those sent to the Terezen Concentration Camp where Goebbels filmed a movie called 'Terezienstadt: The Fuhrer gives the Jews a City' (1944). The prisoners were well dressed and were shown eating big meals, listening to an orchestras, dancing, sleeping in real beds. The children were shown the same. They were having classes and playing with big toys. All were well-fed and happy. After the film wrapped, everyone in, or who worked on the film, were sent to Auschwitz, and most died in the gas chamber there. Jannings survived, possibly through intervention by Max Reinhardt, but was ill when found by the Allies, and he died of cancer in 1950. So, see this great film and see Jannings and Dietrich in one of their best performances. It got them both to Hollywood. Unfortunately, when talking pictures arrived, Jannings style of acting was no longer viable. He went back to Germamy where he was later arrested and sent to the concentration camp to star in 'Terezienstadt'. Yes, Austrian Max Reinhardt also helped save the Von Trapp family, and Jannings died in Austria.
Blue Angel is solid proof that older films are not necessarily inferior to the best films of today. Emil Jennings was superb. Great film.
Stuffed-shirt bachelor professor Emil Jannings doesn't so much fall in love with Marlene Dietrich here as he does come down with a sweaty, tingling, sleepless case of raw LUST. That can happen to a chaste man. He has no defense against the draw of a woman whose every leg cross and bat of an eye can cause a scandal. She's a cabaret singer with the kind of sultry presence that glows in the smokiest room. She performs sentimental songs in as little clothing as the 1930 screen would allow and she's clearly no virgin, God bless her. Dietrich is callous and not innocent, but Jannings is largely a victim of his own weakness. As in many films made for adults, there is no one villain here, just a toxic relationship that should never have happened. Great director Josef von Sternberg gives it to us as a German Expressionist dream in a cruel and sumptuous nightworld. It's beautiful, but not pretty. In the end, sexual repression doesn't work. Never has. It only makes people weirder.
Always fascinating to step away from our current societal lens and take in notions of beauty and sexuality from a different time (such as Dietrich and the ample scantily clad beauties surrounding her on stage here). We also get to see filmmakers making the transition from silents to talkies--some of the acting, editing, and staging can seem a bit rough around the edges but this almost makes viewing these films feel more intimate and participatory. We aren't always spoon-fed emotional interplays with lots of edits and closeups; we have to wait out extended scenes just like the actor participants. This film started out rather light & fluffy, but took a surprising, absorbing and disturbing turn halfway through. One felt real pain and dehumanization in Jannings' character. This former silent star didn't need to say or even emote much through these final scenes--and the approach couldn't be more poignant or effective at conveying true numbness.
It's hard for a cognizant person to watch German films of this timeframe without wondering what the actors might experience within the coming decade/s, and I'm glad other reviewers touched on some of this.
it,s is just so GOOD! says Yes your Bruno in Love!