User Reviews

This was the seventh and last (indeed, it had been announced as such from the outset by Paramount) of the celebrated cycle of cinematic collaborations between Sternberg and Marlene Dietrich and is said to have been both their own favorite – incidentally, with it, the two effectively came full-circle by making another film (as was their first joint venture, THE BLUE ANGEL {1930}) that revolves around a middle-aged man ruining himself for love of an ungrateful young woman. It was also the third adaptation of Pierre Louys' novel "The Woman And The Puppet" that had been much admired by the French Surrealist movement and, appropriately enough, was remade much later by Luis Bunuel in 1977 as THAT OBSCURE OBJECT OF DESIRE (which turned out to be his own swan-song).

Like that version, here we also have the long-suffering 'puppet' (Lionel Atwill in one of his best non-horror roles) narrating his misfortunes with the 'woman' – albeit to a best friend (a young Cesar Romero, replacing Joel McCrea who walked off the set after a single day's shooting!) in a Spanish cantina rather than to strangers on a train! Sill, like the earlier 1929 French version, the male lead (here renamed Pasquale) meets Conchita on a snow-derailed express where Dietrich (dressed as a nun!) takes on an unattractive gypsy female dancer and he intercedes to put an end to that struggle; incidentally, there had also been a nun passenger in the Baroncelli version but she was shown sleeping through the whole ordeal! Speaking of Atwill, he had previously acted opposite Dietrich in her first non-Sternberg Hollywood film, Rouben Mamoulian's THE SONG OF SONGS (1933) which I plan to catch up with presently; besides, Sternberg was summoned to give evidence at Atwill's 1942 trial (concerning an 'immoral' Christmas 1940 party) in which the actor infamously perjured himself and, consequently, was ostracized from Tinseltown's major league and forced to spend his last four years slumming it in third-rate (if not disagreeable) flicks!

This being an adaptation emanating from Hollywood's Golden Age, it is unsurprising to find the supporting roles filled by such amiable character actors as Edward Everett Horton and Alison Skipworth (in a bigger role – as Dietrich's mother – than her character gets in either of the other available versions) who are usually known for comedy and indeed supply some non-intrusive comic relief; equally par for the course is having Dietrich sing an amusingly suggestive number and don some of the kitschiest costumes – even if, ostensibly, she is playing a poor Spanish girl! The film is set during the carnival season and this grants Sternberg the opportunity to devise some remarkably atmospheric masks; indeed, the director must have known this was going to be his last film with Dietrich because he photographed the film himself (although the great Lucien Ballard gave uncredited support – or, rather, was learning the ropes – in his second of four consecutive films for Sternberg).

Having been made after the Hays Code came into force, the film fell victim to censorship (and even a ban threat from Spain!) but its impact still comes through; a notable change concerns the famous nude dance performed by Conchita and the humiliation endured by Pasquale at her house: celebrated novelist John Dos Passos, who adapted the Louys novel, still made Dietrich a tramp, while Sternberg displayed the power of the moment through camera-work, the décor and the elements (rain is pouring down throughout the scene! The film runs for just 80 minutes but feels somewhat longer – especially since the narrative goes on after the main story had ended in the other two versions I watched and includes exclusive incidents: a duel between the two men, a visit to a hospitalized Atwill, Conchita about to leave with Romero but deciding to stick with Atwill, etc.

I had watched THE DEVIL IS A WOMAN twice previously on Italian TV in an English-language print that was accompanied by Italian subtitles that were so large that they obscured a good part of the screen!; this new viewing came via Universal's 2-Disc Set "Marlene Dietrich: The Glamour Collection" which features two double-features on a double-sided disc (the film under review sharing disc space with Rene Clair's THE FLAME OF NEW ORLEANS {1941}) while, bafflingly, Mitchell Leisen's GOLDEN EARRINGS (1947) has a disc all to itself! Funnily enough, this being yet another case of those maligned DVD-18 discs, I was unable to start the feature by pressing the "Play" button and had to do so from the chapters menu! Incidentally, the later Julien Duvivier/Brigitte Bardot remake was alternatively known as A WOMAN LIKE Satan (while is, alas, currently available only in unsubtitled form!) and there are at least two more unrelated but notable films known as THE DEVIL IS A WOMAN: Stephanie Rothman's THE VELVET VAMPIRE (1971; which I have never seen) and Damiano Damiani's star-studded nunsploitation effort, IL SORRISO DEL GRANDE TENTATORE (1974)! Ironically enough, Sternberg had intended calling his film "Capriccio Espagnole" (which would actually be retained by the Italian release prints!) but was vetoed by Paramount's current Head Of Production, Ernst Lubitsch!

It has to be said that this film is an amazing achievement. The Devil is a Woman is a lush and vibrant film, and you really do get the impression that a lot of thought has gone into every scene. The script allows the characters to grow in front of the audience's eyes both in relation to each other and in their own right. Furthermore, the acting is fantastic; with Lionel Atwill convincing as a heartbroken former lover of Marlene Dietrich's cold hearted femme fatale. It's Dietrich that commands every scene she's in and gives an all round amazing performance in the title role. Furthermore, the Spanish setting is superb, and provides a beautiful location for this complex love story to take place in. But it's not the technical elements that make this film so great; it's the plot. We first get to know the characters during a conversation between a fancy man and a former lover of the same woman. The older man tells the younger of his times with said lady, and we get a fully painted picture of all the protagonists through this. The film offers a great portrait of love and frustration; with the title itself referring more towards the lead man's experience with the title character rather than the character herself. The Devil is a Woman is certainly not a fluffy romance flick, but it is a film that works on two levels; on one hand, it tells its story straight and so is easy to get into, but on the other it provides a story with a chasm of depth if you're willing to look for it.

In the carnival in Spain in the beginning of the Twentieth Century, the exiled republican Antonio Galvan (Cesar Romero) comes from Paris masquerade to enjoy the party and visit his friend Capt. Don Pasqual 'Pasqualito' Costelar (Lionel Atwill). However, he flirts with the mysterious Concha Perez (Marlene Dietrich) and they schedule to meet each other later. When Antonio meets Pasqualito, his old friend discloses his frustrated relationship with the promiscuous Concha and her greedy mother (Alison Skipworth) and how his life was ruined by his obsession for the beautiful demimondaine. Pasqualito makes Antonio promise that he would not see Concha. However, when Antonio meets Concha, she seduces him and the long friendship between Antonio and Pasqualito is disrupted.

"The Devil Is a Woman" is the last movie of director Josef Von Sternberg and Marlene Dietrich together. The romance tells the story of a cold- hearted dancer that has a promiscuous life and is financially supported by her obsessive lover in an unrequited love. The man ruins not only his professional life, but also his long friendship with Antonio. Marlene Dietrich is beautiful in this film and the role seems to be tailored to her. The excellent cinematography in black and white is very impressive. My vote is seven.

Title (Brazil): "A Mulher Satânica" ("The Satanic Woman")

This film takes place in Spain during the early part of 20th Century where a large carnival has just begun. It's at this time that a young man by the name of "Antonio Galvan" (Cesar Romero) spies a lovely young maiden named "Conche Perez" (Marlene Dietrich) who then offers to go for a ride with him the next morning. However, that same night, Antonio is informed by an old acquaintance that he greatly respects named "Don Pasquale Costelar" (Lionel Atwill) to avoid her at all costs as she is nothing but trouble. Pasquale then proceeds to tell him that he was once in love with her and upon confiding some in-depth details of how she broke his heart, Antonio swears that he will have nothing to do with her. Unfortunately, he soon finds that to be much more difficult than he initially realized and because of that trouble soon erupts between them. Now rather than reveal any more I will just say that this was a delightful film made especially enjoyable by the performance of Marlene Dietrich who shows why she was such a movie sensation during this time. Admittedly, this picture is quite dated and that for that reason it might not appeal to everyone. But having said that, I believe that those who like classic films from this particular period might find this one to their liking and for that reason I have rated it accordingly. Above average.

A young Spanish radical in old Sevilla learns that THE DEVIL IS A WOMAN, when he falls hopelessly in love with a mysterious female.

Mesmerizing & hypnotic, this is a film which arouses all the senses. Dreamlike in its visuals & nightmarish of plot, it presents imagery so persuasive as to be practically palpable. Director Josef von Sternberg & writer John Dos Passos constructed a miniature madhouse for the mind, in which the viewer gladly finds himself consigned.

Fascinating, coy, deceptive, utterly alluring, Marlene Dietrich dominates the film as an icy-hearted harlot who strews her pathway with the broken bodies & wasted lives of the men she's betrayed. With heavily lidded eyes peering out of her disturbingly beautiful face, she is the very picture of sardonic seduction. Wisely, the film allows her a moment of amusement (for the viewer), letting her perfectly sum up her philosophy in the comic song ‘Three Sweethearts Have I.'

Dietrich's two leading men are both excellent. Lionel Atwill, sadly ignored today, once again exhibits the depth of his acting talent; Hollywood's propensity to place him in horror films often obscured his abilities. Here, he shows us a man fully aware of his complete degradation. Cesar Romero, in one of the finest roles of his early career, more than adequately carries on the tradition of the Latin Lover, but with a twist - here is a romantic hero who is not strong enough to escape from the web of the female spider.

Peevish & pompous, Edward Everett Horton is thoroughly amusing as a flustered Spanish bureaucrat.

Two wonderful English character actresses enliven the proceedings in small roles: Alison Skipworth as Dietrich's disreputable matriarch and Tempe Pigott as an old one-eyed harridan.

Movie mavens will spot Edwin Maxwell as the manager of the cigarette factory and Charles Sellon as a professional letter writer, both uncredited.

Von Sternberg created a masterwork of cinematic symbolism, with innuendo so rife it is incredible it passed the Production Code. In every way, the film is a worthy follow-up to his previous collaboration with Dietrich, the orgiastic SCARLETT EMPRESS (1934).

The last of seven Dietrich and von Sternberg collaborations suffers from the misogyny of the story on which it's based, and frankly it's also a bit of a mess. I'm not a big fan of story lines that involve an evil woman leading a man on such that he's rendered helpless by her charms, yet continues pursuing her despite her cruelty (e.g. 'Of Human Bondage' by W. Somerset Maugham, which was made into a film with Bette Davis in 1934, the year before this one). In the original story by Pierre Louÿs, whose erotic writing would sometimes dip into misogyny, the man in question eventually feels like he's had enough, and beats her. She likes this so much that he wins over, so yeah ... ugh.

This explains why the Hays Office censored the song "(If It Isn't Pain) Then It Isn't Love" from the film, even if in listening to audio recordings which survive, it doesn't seem salacious in its lyrics (e.g. "if it doesn't drive you insane, it can't be love"). In the film we do hear the beating though, after which Dietrich coos "Look at me. Look, Pasqualito. I'm black and blue. I know I've been cruel, but I'll make up for it. Tell me what you want me to do." Her hair has two circular coils in front, reminiscent of Goya's portrait of Thérèse-Louise de Sureda and clearly a reference to female anatomy, her mouth is right up to his ear and she's offering herself, but the eroticism of the scene is diminished severely because of the physical violence, which is all the more disturbing because it's shown to be appropriate, accepted by Dietrich, and effective in changing her behavior.

Dietrich does have her moments in the film, like when she makes a show of putting on her shawl and looking up at Lionel Atwill with beguiling eyes, and then later dramatically throwing open a thin curtain and with arms outstretched, staring defiantly at him. The film has high production value, with gorgeous outfits, headdresses, and hair/makeup, which maybe is the reason Dietrich liked it so much. The set designs are ornate and fabulous (iron gates and windows come to mind), and the crowd scenes showing life in Spain are energizing. It's a small scene, but I loved seeing the gypsy dancer on the train (apparently Luisa Espinel, uncredited), probably more than anything Dietrich does.

Unfortunately, Dietrich seems out of place for most of the film, and it's not just because she isn't Spanish, though that doesn't help. Early on she's much too made up, and hardly looks like she fits in the working room of cigarette rollers. As she plays cat and mouse with her suitor she acts absurdly, asking him if she's the only one in a silly, exaggerated way, and this along with other dramatic moments where she emotes oddly seemed to be Dietrich trying (and failing) to "act Spanish." It's an annoying character, and played unbelievably by Dietrich, much as it pains me to say it. Her musical performances are flat too. There's enough here to make it watchable, but you can do much better with other Dietrich/von Sternberg films.

Very few aesthetic delights of the post-Code era tantalize and linger long afterwards in the mind as much as films from the Marlene Dietrich/Josef Von Sternberg partnership, and this, thankfully kept in Dietrich's vault as it was the favourite of her films, is no exception. Though anyone who knows me will readily recall I prefer the twice-Oscar nominated (for 'Morocco' and 'Shanghai Express'), Viennese expert craftsman's silent pictures to those made with the sexpot, this saga of vengeance is also superlative and well worth both purchasing and re-watching. Paramount caved in to pressure by the Spanish government, who hated the way Pierre Louÿs' novel portrayed the Spanish police, and actually destroyed the original print. Thankfully Dietrich's fear that her favourite film would otherwise be lost meant it was extremely well-preserved, and I saw my copy as part of a superlative DVD boxed set of six of her films that I've had for a few years now.

THE DEVIL IS A WOMAN really couldn't be a better description of Concha Perez (Marlene Dietrich). Making full use of her considerable feminine wiles, Concha captures hearts everywhere she goes, then breaks them with happy abandon... only to pick up the pieces before she again grounds them to dust under her high-heeled feet. Two of her victims include Don Pasqual (Lionel Atwill) and a young fellow Antonio (Cesar Romero) who really admires Pasqual. As revealed in flashbacks, Concha has made a complete and utter fool of her 'Pasqualito' (several times!), and even though Pasqual warns Antonio off her, she makes short work of the latter's defences and soon has the two friends pitted against each other in a duel to the death.

With the deliberately provocative title (especially considering this film was made in 1935), one would expect a lot more than what one gets in this film--which is, basically, not all that much, considering the talent involved. Firstly, it's not much of a story, and one only struggles through the pretty short running time (80 minutes!) just to look at Dietrich's fabulous costumes and perhaps find out who she ends up with in the film... if anyone. Secondly, the character development (particularly of Concha's character) is rather slight--one cannot help but come to the conclusion that Concha is either *really* the devil (in which case she's a particularly flighty, empty-minded incarnation) or an extremely flighty, empty-minded... well, the word I'm looking for rhymes with 'witch'. (And 'witch' would work fine too.) There's little to no suggestion that Concha is a human being, and perhaps that's von Sternberg's message in the end, since THE DEVIL IS A WOMAN seems to be a hardly-veiled semi-autobiographical description of his own relationship with Dietrich. Whatever the case, it would have been nice to see some of Concha's internal motivation, whatever it might have been.

Arguably the character study comes into play with the character of Pasqual, played masterfully by Atwill. Pasqual certainly is the best character in the piece--he's a previously solid pillar of the community with one fatal flaw: his foolish, obsessive love for Concha. His fatherly advice to Antonio, tainted by jealousy and mingled with genuine concern, as well as his actions during the duel, suggest a fully-drawn portrait of a man. (Whether that man is a conscious or subconscious depiction of von Sternberg himself is another question to be asked, of course.) Romero doesn't have much to do, and makes neither a positive nor a negative impression, while Edward Everett Horton only occasionally displays flashes of subtly underplayed comic genius as Don Paquito.

What then, of Dietrich? One couldn't see this film and not realise that this film was a Dietrich vehicle from start to finish. As in all of her films with von Sternberg, she is lavishly, beautifully costumed (all her meticulous, perfectionist work with Travis Banton always pays off) and looks simply ravishing. His lighting and filming of Dietrich is probably one of the main reasons she had and still has such an impact on film audiences, considering her varying acting ability (she is decidedly not one of those actors whose work is always top-notch, regardless of the quality of the rest of the film) and average--though endlessly intriguing--singing ability. In this, their last film together, the magic of the Dietrich and von Sternberg collaboration is in full force, and so she looks marvellous. It's a bit of a shame that she doesn't play the character in anything other than the one note however--that of a coquettish flirt. A lot could have been made of Concha's character, even as written. Unfortunately, Dietrich doesn't lend Concha an iota of the mystery she brings to other characters such as MOROCCO's Amy Jolly. In fact, Dietrich plays Concha with a manic (albeit radiant) energy that makes me keep expecting her to start twitching or display other signs of hypertension. Is there a reason Dietrich chose to play this way, or von Sternberg directed her to do so? I hope it's only a misguided reading of Concha, and not a reflection on Dietrich's own character and behaviour. She isn't really irritating in this film (thank goodness) and is still eminently watchable... but I can imagine her wearing on the nerves if the film drags on any longer than its mercifully short running time.

Despite all the negativity I've been throwing in the film's general direction, this really isn't to say that THE DEVIL IS A WOMAN is a bad film. Far from it. It's not a great one, certainly, but there are redeeming factors. One is Dietrich's beauty, of course, for she is truly at her prime in this film, and the costumes are flamboyant, eye-catching, and practically worth the price of the ticket. The other is the production values brought into everything--it's quite evident that no expense was spared on bringing the Spanish carnival to life, particularly in the first moment it joyously bursts onto the screen. You really couldn't tell it was all done on a set (another key attribute of von Sternberg's art), and it's such a visual film that one sometimes feels it's exploding with life and colour even though it's filmed in black and white. So it's an interesting film to watch if you're a Dietrich fan, but particularly if you're a fan of Dietrich/von Sternberg collaborations--THE DEVIL IS A WOMAN is a more or less pleasant, undemanding filmic romp, and in the process might throw up a few deeper questions on the fictionality of Concha's character...

In terms of artistry, this probably ranks up there with the best of them. It has to be one of the most attention-grabbing films ever made with every scene crammed full of enticing details. From the opening carnaval parade that's buried under three feet of confetti, with everyone hiding behind unbelievably bizarre masks, the film revels in outstanding direction, sets, and costumes. Marlene Dietrich is simply on another level with her smart, beautiful, and sexy character, and the way they dressed her and the sets they put her in all combine for a totally and undeniably spellbinding experience. I guess if one digs a little deeper one would find a simple enough story and could claim the characters are mere caricatures for an American audience, but that would miss out on the sheer sophistication that can be appreciated up to today and beyond.

As has been pointed out, "The Devil is a Woman" from 1935 is a feast for the eyes with its settings, costumes, and Marlene Dietrich.

The film is told in partial flashback and takes place at the beginning of the 20th Century.

During carnival in Spain, Antonio (Cesar Romero), a republican revolutionary, who has been exiled, arrives from Paris to participate in the festivities. He also visits with his friend Captain Don Costelar (Lionel Atwill), known to his friends as Pasqualito.

Antonio meets Concha, a nightclub singer, and arranges to meet her later. Pasqualito, however, tells him that he had a relationship with Concha, and she ruined his life. Thus begins the flashback, where he tells Antonio what happened and makes his friend promise that he will never approach the greedy, heartless, cold Concha.

This was the last von Sternberg-Dietrich collaboration. von Sternberg fills the screen with confetti, balloons, crowds, and people wearing outrageous masks. It's all very frenzied and filled with excitement.

This little story is from a novel called "The Puppet Woman." Which she is.

Dietrich is stunning as Concha, who flirts, cajoles, and indulges in dramatics in order to get who -- and what -- she wants. It's usually an older man with money, whom she corrals, takes up with a younger man, and leaves the older one. She is costumed in the most outlandish way tilted hats with brims that go out three feet, lace gowns. She's amazing.

Both Cesar Romero and Lionel Atwill as her suitors are wonderful - Romero, as Antonio, is wanted by the police so he walks around a lot of the time resembling Zorro.

Edward Everett Horton is the Mayor, also madly in love with Concha. He's hilarious as he yells at the police and is disgusted by the carnival.

This film is only 80 minutes and well worth seeing. If you have read Maria Riva's book about her mother, there was an incredible amount of time taken with closeups and lighting, and she could hold a position for an unheard of amount of time. You'll see how immaculately she is photographed in this film.

The one thing everyone seems to miss Is that Lionel Atwill looks a lot like Sternberg. Looking at the Dietrich/Sternberg collaborations it's hard not to notice that Adolph Menjou, Herbert Marshall, and Lionel Atwill seem to be Sternberg surrogates, which knowing about the Dietrich/Sternberg relationship, adds a perversity and depth to viewing the films.

If you look at the screen test for Blue Angel available on the blue angle DVD, you can already see Dietrich's disdain that seems an enormous part of her screen character in their collaborations. The Devil is a Woman is a story of a man who ruins his career in pursuit of a woman. Pretty hard not to see parallels to Sternberg's career. This was his last big budget film and one that remains a lasting testament to "l'amour fou."

I must admit at the outset that I don't particularly like a style of film that was very popular in the 1920s and 30s--the "über-vamp" type of movie where a woman is so alluring and seductive that men fall at their feet--helpless! Both Marlene Dietrich and Greta Garbo became famous for such roles and frankly, they seem awfully silly in the 21st century. First off, no woman is THAT seductive. Second, with all the makeup and eyebrow plucking, if there WAS that type of woman, it certainly wouldn't look like either of these women! The bottom line is that this theme is one giant cliché and writing these films was pretty much "by-the-numbers" in most cases--in other words, it didn't require a whole lot of creativity or thought.

In this case, much of the story is told through flashbacks, as Lionel Atwill is trying to warn young Caesar Romero to stay away from Marlene. And, in these flashbacks, Ms. Dietrich does play an awful and totally selfish woman. But, at the same time, Atwill (and later, other male characters) plays the role of a weak and ineffectual man--more like a masochist in a sick relationship than a man. All this is meant to be very sensationalistic--I just thought it was all pretty silly.

If you MUST see this type of film, I suggest you see the Luis Buñuel film, THE OBSCURE OBJECT OF DESIRE--which is, in fact, a comedic takeoff on THE DEVIL IS A WOMAN. The overall plot is nearly identical but the film is played more for laughs and shock value--which is exactly how THE DEVIL IS A WOMAN should have been played! In other words, since the plot was so poor and old fashioned, lampooning it is probably the only thing to do with it! A silly film that is moderately interesting, but totally unbelievable and clichéd. It only merits a 6 because the production values are high and the actors do the best they can with this bilge.

The partnership of actress Marlene Dietrich and director Josef Von Sternberg was a justifiably famous one, and could even be seen as iconic (personally do consider it so). They did seven films together, starting with 1930's 'The Blue Angel' (perhaps the most historically significant) and ending with 1935's 'The Devil is a Woman', all of which ranging from good to outstanding (the weakest to me being 'Blonde Venus and that was still good).

Of which 'The Devil is a Woman' is one of their best, along with 'Shanghai Express' and 'The Scarlet Empress'. It does end on a bit of a curiously odd note and it's a tad over-stuffed in places. All that aside, 'The Devil is a Woman' to me was a great film with a huge amount to admire.

First and foremost, Dietrich. She was never more beautifully captured on film than in her collaborations with Sternberg and 'The Devil is a Woman' is not an exception. As with her previous films with him she looks luminous, not just lavishly made up and costumed but gorgeously photographed. As for her acting, once again she is fun to watch but also brings a vulnerability to her role which helps make the role a real character.

She is very well supported by Lionel Atwill, excelling in an atypical sympathetic leading role (more familiar with him as a supporting actor), and Cesar Romero's usual suave charm proves crucial in making the most of a character not quite as interesting as Dietrich's and Atwill's. Edward Everett Horton is hilarious. Sternberg's direction is as accomplished as ever.

Can always count on a Sternberg film to be visually beautiful, and 'The Devil is a Woman' does not disappoint. Not just the striking use of light and shadow lighting and the sumptuous settings and costuming but especially the cinematography, which is often enough to take the breath away. The music score is stirring yet not intrusive.

Scripting is sophisticated and humorous, and the story is compelling and actually has more depth than one would think. The erotic, sensual atmosphere intoxicates too.

In summary, a devilishly good film, what a film to go out on for Dietrich and Sternberg. 9/10 Bethany Cox

I'm not too crazy about the storyline. She played Concha Perez, a Spanish woman, who is torn among men. Men fall easily in love with her beauty. Marlene Dietrich does a fantastic job with a weak script. I never bought the film set in Seville, Spain. It's too far fetched with the cast and out of the actors league. Only Cesar Romero fits into his role as one of the possible suitors. Alison Skipworth plays Marlene's character, Concha's mother. Personally, I would have loved to have seen more of Señora Perez. Alison Skipworth was one of the best female character actresses in comedy and drama. This 1935 film is really a great collaboration between Josef Von Sternberg and Marlene Dietrich in her vehicle. Marlene Dietrich was a star, an original. This film does boast her talents but sadly the film is overshadowed by the weakness of trying to being something and somewhere it doesn't fit right like Spain. If the director and writer had rewritten and revised the setting because the cast like Dietrich, Skipworth, and others don't seem to fit into the scenery, it brings the film down. But still, it's a short film in comparison to today's films and it's just worth watching great actors at play.

A captivating and very different movie where a dazzling Marlene Dietrich willfully toys with the affection of Lionel Atwill whose life is then ruined by their relationship. How low will he sink? As low as Emil Jannings in The Blue Angel? The reasons for Atwill's obsession is left to the imagination since censors at the time would not allow us to observe what is today commonly on screens. Surrealistic scenes of a Spanish carnival and extraordinary costumes make this highly recommended and not often seen film a visual feast. Marlene has never been lovelier and more injurious. Atwill does a respectable job as the bedeviled older lover. A young Ceasar Romero is a believable other love interest. Edward Everett Horton's voice mars the play of what should have been a stately governor who appears to have been seeing Marlene on the side. An unexpected ending contributes to a movie that should be discussed and watched again. Highly recommended.

The Devil Is A Woman marked the end of the director/player partnership of Josef Von Sternberg and Marlene Dietrich. I'd love to give the film a better review, but the results of this film show the team was played out in terms of creativity.

In terms of a plot Von Sternberg took one that was very familiar, a woman dragging a man to the depths of destruction, in fact a few men in this case. If it sounds familiar that's exactly what Marlene Dietrich was doing in The Blue Angel as the saucy sexpot entertainer Lola-Lola who humiliated and degraded Emil Jannings. Here she leads Lionel Atwill and young Cesar Romero in his very first role of substance and if you can believe it, Edward Everett Horton. You read that correctly.

At a carnival young Romero who is a Republican revolutionary in turn of the last century's Spain first makes some heavy eye contact with sexy Marlene. Later on he runs into former Spanish Army officer Lionel Atwill whom he asks about this ravishing creature.

Lionel spends the next several reels telling his sad story of how this woman was the ruin of his career. But does Romero heed Atwill's warnings? He does not, because the way Atwill tells it this woman might be the ultimate in sexual fantasy. He ought to know, Atwill's still fantasizing over here.

Naturally these guys are going to tangle and I'm not going to reveal how it does come out, in fact there is still some doubt as the film ends. Unlike The Blue Angel, The Devil Is A Woman descends into some real campiness and you just can't take it seriously after a while.

Joel McCrea was almost in this film. He was cast in the Cesar Romero part and after shooting a few scenes begged to be out of it. Then they actually hired a man of Hispanic heritage for one of the lead roles in a story set in Spain.

At one point Marlene has to charm Edward Everett Horton. Someone at Paramount had a sense of humor in casting that one. And can you believe Allison Skipworth gave birth to Marlene Dietrich. Again someone has a sense of humor.

Von Sternberg and Dietrich called it day after The Devil Is A Woman. The well had run pretty dry by then.

It may have been one of the flops of Dietrichs career upon its initial release in 1935 but that was mainly due to bad publicity, the Spanish government demanded that the film be banned and destroyed, thus making it such a rare treat to see for Dietrich fans. The film was also the only film that Marlene kept a personal copy of, Joseph Von-Sternbergs lighting and Dietrichs new eyebrows and make-up techniques make Marlene appear more beautiful than she ever did before or again. It is true that the films script is poor but one can forgive that, one can even forgive Dietrichs wooden acting and the poor songs she was forced to sing in the picture, we can forget about everything that is bad about the film because there is something so very impressive about it visually that when i watched it i couldnt take my eyes off the screen, today off course it is truly a masterpiece and the costumes that Dietrich wears are some of her most impressive, almost exceeding those marvellous costumes that she wore in Shanghai Express. It is sad to think that after this film Dietrichs career began to skid and never fully recovered.

It's not difficult to guess who was cast as the femme fatale in The Devil Is a Woman. Marlene Dietrich often gets cast as a woman whose sex appeal is so intoxicating, she ruins men simply by appearing in their lives. In this Spanish carnival setting, she merely locks eyes with Cesar Romero and he's smitten. He must have her! He tells his friend, Lionel Atwill, and Lionel tells him a story of how Marlene ruined his life as well. Flashbacks don't sway Cesar, even though they took up half the movie, and he's determined to ruin his life as well. Marlene's just no good in this movie - hence the title.

I was pretty excited to watch this movie. It's a classic, and with director Josef von Sternberg at the helm, I knew it would be masterfully handled. I was surprised though, at the style of the film. It's very much like a silent movie, and in fact, if you watch it on mute you'll miss very little. A few text cards could easily tell the story. The crowded frames full of tropical foliage and party guests make for an interesting viewing, even though it obviously wasn't filmed on location. Travis Banton's costume design for Marlene is stunning. She's dripping in lace and gets a different breathtaking hat in every scene. Yes, her makeup makes her look like a clown, but that's also part of the silent film style. Her expressions as she says her lines are straight out of the silent era. Her head tilts, her eye rolls, lowering and raising her lashes, and biting her lower lip before speaking - all mannerisms that take you back in time ten years. Lionel Atwill's flashback, and the way he tells it, completely remind you of storytelling back in the 1920s.

If you're not too familiar with silent pictures, you'll probably just think this movie is weird. You'll think Marlene's mannerisms are overdone, Lionel is boring, Cesar is melodramatic, and the plot slow. But if you know your old, old flicks, you'll be in a better position to appreciate it. It really is a pretty movie to watch, with every visual catching your eye. Whether it's Cesar Romero in his slim-fitting carnival costume, or Marlene Dietrich's gorgeous hats, this movie does what it's supposed to do.

This was the last of the eight Sternberg-Dietrich collaborations and, like their off-screen relationship, their on screen partnership was by now turning a little sour. It shows.

One thing that sets the Devil is a Woman apart from the pictures that preceded it is that von Sternberg seems less keen to show off Marlene's beauty. Whereas in the Blue Angel, Morocco or indeed any of the others he would use scintillating light patterns to give her face an other-worldly glow – something he would never treat the other actors to – she is now like the rest of the cast shot as if she were part of the set. Also, Dietrich's interpretation of her character is rather dull; all pouting and melodramatics, a far cry from the assured performances she gave in Morocco and Scarlet Empress. This is particularly significant for this of all pictures. For the story to work, Marlene needs to appear seductive to the audience, so we can see what the attraction is for her lovers. As it is her portrayal is unsympathetic and uninteresting, making it considerably less credible for men to be shooting each other for her attention.

Aside from that there is little else going on here. The story is a loose knock-off of Carmen. Sternberg's visual constructions are pretty as always, and with the carnival setting he really gets to have fun with trailing streamers and garish masks, although the metaphor of Concha as a spider, with the streamers her web is perhaps stretched a little thin. As with the Scarlet Empress there is an attempt to choreograph the action to famous pieces of classical music, in this case Rimsky-Korsakov's Capriccio Espagnol, but it is not particularly well-developed.

There are however a few treats on the acting front. Lionel Atwill is particularly good. Atwill was one of those rare character actors who would normally deliver an over-the-top supporting performance, and yet was fully capable of reining things in a bit when cast in a more serious dramatic role. And yet he still retains that "character actor" sparkle, that actually makes good comedy of lines like "A most outstanding pleasure…" In fact one of the strong points of the Devil is a Woman is that, through its cast, it manages to make comic relief out of serious moments. For example the casting of Edward Everett Horton (probably best known as Fred Astaire's sidekick) as an authority figure might seem ill-advised, but when he too confesses an obsession with Concha the scene plays for laughs. Don Alvarado is also great in an almost mute – and consequently funny – role. It's just as well these supporting players are good, as the second lead man Cesar Romero unfortunately delivers a leaden lump of a performance.

It seems that with their personal and professional relationships on the way out, both Dietrich and von Sternberg were simply going through the motions on this one (although strangely Dietrich named this as her favourite of her films). Of course some might say that even a half-arsed effort from a great director and a screen icon should be pretty good, but coming after the magnificent Scarlet Empress (the one Dietrich-Sternberg film that really works) this is something of a disappointment.