lugonian
THE DEVIL IS A WOMAN (Paramount, 1935), directed by Josef Von Sternberg, with screenplay by John Dos Passos, became the director's most personal film to star Marlene Dietrich. For their seventh and final collaboration, instead of possibly doing such then popular choices as a screwball comedy or a lightweight musical showcasing Dietrich's singing talents, Von Sternberg selected Pierre Louys' novel "The Woman and the Puppet." Previously filmed under that title, in the silent era (1920) starring opera singer, Geraldine Farrar, this new edition may very well have been an approach in presenting a different Dietrich, that as a heartless Spaniard girl making pitiful fools of the men who love her. Nothing new there since she portrayed a similar type in her breakthrough film role in THE BLUE ANGEL (1930) under Von Sternberg in Germany. Reminiscent to the silent screen vamp as Theda ("Kiss Me, You Fool") Bara in the 1910s; early Greta Garbo as THE TEMPTRESS (MGM, 1926) and FLESH AND THE DEVIL (MGM, 1927) a decade later; or even the classic Guiseppi Verde opera, "Carmen," THE DEVIL IS A WOMAN may have seemed a trifle old-fashioned by 1935. In spite of dismal results which have kept this particular movie out of circulation for many decades, making this the least known and revived of the Von Sternberg-Dietrich collaborations, it's been labeled a personal favorite to them both.With music based on Rimosky-Karsakoff's "Spanish Caprice" and old Spanish melodies, "The action of the story takes place during a carnival week in the south of Spain at the beginning of the century." After Don Paquito (Edward Everett Horton), the new governor, gives orders for officials to shoot any lawbreakers rather than having them arrested and crowding the jails, the next scene introduces Antonio Galvan (Cesar Romero), a political refugee returning from Paris, in masquerade costume resembling that of Zorro, walking through the crowd looking for women. One in particular (Marlene Dietrich) catches his fancy, and at the conclusion of the parade, follows her home. Coming to the estate to meet this mysterious woman, he's given a calling card from her butler to meet her at the Avenue of the Sycamores. While waiting, Antonio comes across his best friend, Don Pasquel (Lionel Atwill), a former Army officer of the Civil Guard who, three years earlier had resigned his commission. Learning Antonio is to meet this notorious Concha Perez ("the most dangerous woman"), Pasquel relates of how he became involved with "the toast of Spain" that lead to his disgrace. In a flashback lasting 35 minutes, Concha, who works in a cigarette factory, lives with her mother (Alison Skipworth), always heavily in debt. She meets Pasquel in a snowbound train in Paris. Immediately fascinated by her beauty, he yearns on becoming her "protector." During their on and off relationship, at one point consisted of he giving her a beating, Concha gives him up for a bullfighter, Morenito (Don Alvarado) who later kills himself. At the conclusion of his story, the men part company, with Antonio promising Pasquel to forget about her. Curiosity gets the better of Antonio, who meets Concha with the attempt of killing the woman who disgraced his friend. Instead, he's captivated by her charms. Caught embracing by Pasquel, the two former friends agree to settle their differences dueling it out with pistols.In a role that might have been tailor made for Dolores Del Rio, Dietrich gives a convincing performance, looking quite exquisit and alluring, especially while singing "Three Handsome Sweethearts Have I (For He is a Son of a ...)" by Leo Robin and Ralph Rainger. Atwill stands out as the rejected suitor (similar to his earlier role opposite Dietrich in 1933's THE SONG OF SONGS). Interestingly, Atwill bears a striking resemblance towards its director, Von Sternberg, from his sneering eyes right down to the mustache, almost as if Von Sternberg enacted the role himself. While a straight drama, some of the lines are unintentionally amusing: Atwill: (looking down at Concha as she fixes her face seated in front of a mirror) "I love you Concha. Life without you means nothing." Dietrich: (Boldly replies) "One moment and I'll give you a kiss." Cesar Romero, in his first important screen role, is properly cast in his role, much better suited than the original choice of Joel McCrea.Unseen in many years, largely due to its controversy with the Spanish government on how some of the characters are portrayed, or possibly for its dull narrative, THE DEVIL IS A WOMAN began resurfacing either through private screenings or revival theaters around the 1960s before finally making it to television, notably on public TV's WNET, Channel 13, in New York City, where it aired occasionally from 1980 to 1989. Turner Classic Movies premiered this rare gem January 3, 2002, during its "Star of the Month" tribute to Marlene Dietrich. In spite of its limited showings, THE DEVIL IS A WOMAN is still a rarity. Maybe its current availability on DVD might remedy that. (**)
peacecrusader888
This is not a review of the movie itself but a revelation of the fact behind the title of the movie. The Devil or the Great Dragon or the old serpent or Satan (Revelation 12:7-9), according to the Holy Spirit who we (plural) talk to, is a woman, a female. She is the twin sister of Michael, and the only woman of eight archangels. In Heaven, she was called Lucibel or "Light of Heaven" but when she was cast out of Heaven, she became Lucifer on earth.In the spiritual world, there are no more sex organs, no more "twin peaks" but the beings are either male or female.The movie is an eye-opener for the truth of what the Devil offers. She is a cold-hearted harlot who is alluring and seductive in offering worldly possessions – beauty, fame, power, material wealth – in which people of this world fall into. Even if we have been warned of these, like what the elder Don Pasqualito told the young Antonio, still people fall into her traps and leave people betrayed and helpless. Later, they realize that "man shall not live by bread alone, but by every word that proceedeth out of the mouth of God" (Matthew 4:4, King James Version). These worldly possessions are fleeting things only. What we should acquire are those that we can take with us in the afterlife.Concha says, "Mother says no flies enter a closed mouth." The Holy Spirit told us, "Mouth that is not opened is far from sinning."
netwallah
A sadly predictable, clichéd story about a woman who was no better than she should have been. Sadly, too, the screenplay is by the once-great experimental novelist John Dos Passos, from an original by French exotic potboiler Pierre Louys. This time Marlene Dietrich is Concha, a manipulative, cold-hearted Spanish beauty. Don Pasqual (Lionel Atwill) raises her from the cigarette factory, but she ditches him. He warns his tall young friend Antonio (Cesar Romero) against her, but to no avail. A duel ensues, Concha reproaches Pasqualito for trying to kill the only man she ever cared for, so he doesn't: he points his pistol at the sky, but Antonio shoots him. But instead of going off to Paris with the young victor, she goes back to the man who would have died for her. With an unexpected bit by Edward Everett Horton as a Spanish Governor. Dietrich plays the part of a Spanish woman by moving constantly, twisting at the waist and posturing and then twisting back, flouncing, tossing her head, and so forth. And she makes faces, and has a curl in the middle of her forehead. The photography is strangely crowded: no outdoor scene can be shot except through a tangle of bare trees, no interior scene can be shot without so much busy detail that it's almost impossible to follow people moving across a room, no consecutive scene of Dietrich can be shot without a major wardrobe change. The carnival scenes are so full of confetti and streamers it's almost like an underwater scene in the Sargasso Sea.
