Der blaue Engel _1930 Carl Ballhaus
CAST: Emil Jannings, Marlene Dietrich, Kurt Gerron, Rosa Valetti, Hans Albers, Reinhold Bernt, Eduard von Winterstein, Hans Roth, Rolf Müller, Roland Varno, Carl Ballhaus, Robert Klein Lörk, Charles Puffy, Wilhelm Diegelmann, Gerhard Bienert, Ilse Fürstenberg
GENRE: Drama, Music
Der blaue Engel _1930 (1930) HD English Full Movie Download
Der blaue Engel _1930 (1930) Stars
Watch: Der blaue Engel _1930 (1930) English Full Movie Watch OnlineTrailer: Blue angel trailer [Standard]
PRODUCTION: Universum Film (UFA)
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SYNOPSIS: Prim professor Immanuel Rath finds some of his students ogling racy photos of cabaret performer Lola Lola and visits a local club, The Blue Angel, in an attempt to catch them there. Seeing Lola perform, the teacher is filled with lust, eventually resigning his position at the school to marry the young woman. However, his marriage to a coquette -- whose job is to entice men -- proves to be more difficult than Rath imagined.
Often referenced as one of the highlights of the golden age of German cinema, and being based upon a strong story by one of the great German authors, the Blue Angel is nevertheless most significant for giving birth to a Hollywood legend – the screen persona of Marlene Dietrich. The coming of sound was dealt with differently in different countries. In Europe they tended to be a little less keen to ditch the qualities of silent pictures, and their early talkies are generally low on dialogue and use sound more as an embellishment than a means of imparting information. Although Austrian-born Josef von Sternberg was a Hollywood director, even in his US talkies he focused largely on the imagery and made the dialogue almost superfluous. The German studio was therefore perhaps a little more suited to von Sternberg`s method than those back in the states. In the Blue Angel the sound is simply another layer on top of all the shadows and clutter of the von Sternberg visual style. For example, he uses abrupt sounds to punctuate a scene, such as the door shutting and cutting off the music. This auditory punctuation would be explored further in his next film, Morocco. The music of the Blue Angel is also effectively employed as a backdrop to the action. You can see what I call von Sternberg`s "eyes across a crowded room" technique (where the romantic leads make eye contact, and we cut from crowd shots to increasingly close shots of their faces) in his silent pictures. Now that it`s done while a song plays out it has much more weight, much more rhythm, and the wordlessness of that eye contact is emphasised. The "eyes" moment in the Blue Angel is actually a little lacklustre compared to the brilliantly intense equivalent in Morocco, but this is understandable as the resulting relationship is less fiery. As with all the Dietrich/Sternberg collaborations, the centre of the Blue Angel is of course Marlene. A relatively inexperienced performer, in her first sound film, and coming from the German tradition of screen acting which tended to be exaggerated and theatrical, and yet she delivers such a natural, believable performance. With her singing voice and good vocal delivery the sound revolution is also a boon for her. The authenticity of Marlene`s acting is in fact somewhat out of kilter with the heavy stylisation of von Sternberg`s direction, and many of their films together were in fact saved by her performance. It`s a shame though that in all these pictures she plays essentially the same character, because (unlike von Sternberg) she had a fantastic range. It`s a pity too that, in contrast to Marlene, Emil Jannings is seemingly incapable of playing any role without some degree of comical overstatement. Fine, if that`s what you need (as in, say, Faust), but here it doesn`t quite fit in, particularly in the earliest scenes. Of course, it`s important that Professor Rath is a bit of a buffoon so that we see a hint of the clown in the schoolteacher, but the effect would have been so much stronger had Jannings given a realistic portrayal of stuffiness and pomposity, rather than this caricature. It`s funny how, as well as this being the launch pad for Dietrich`s career, it meant that Marlene herself would give a few more years of life to Sternberg`s. It wasn`t just Sternberg`s irascibility and desire for creative control that cut short his career (after all look how far John Ford got on much the same reputation) – it was also the fact that he cared far more about playing about with lights than he did about bringing out the storyline or the quality of acting – and that was a problem for producers (not to mention the audience!). But, for the time being, he had established a star/director partnership which meant his pictures would be a success. As soon as that partnership was ended in the mid-1930s, it would be all downhill for von Sternberg.
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