The Blue Angel (1930) – American director Josef von Sternberg went to Germany to direct Emil Jannings in his transition from silent to sound cinema and returned to Hollywood with an international hit and a new star: Marlene Dietrich. Not exactly what Jannings had in mind, but then how could he know that his thick, gesture-laden theatrics would come across as simply old-fashioned next to the brash, lazy, sensual quality of Dietrich’s easy screen presence and modern performance.
It’s a perfect pairing in this case: the repressed petty provincial schoolteacher Rath, so obsessed by appearance and authority, and the happy-go-lucky showgirl Lola-Lola more concerned with his pleasure and freedom. With such a strong tale (adapted from Heinrich Mann’s novel “Professor Unrat”) behind Sternberg’s layered visual style, it becomes his most dramatically driven sound film, and his most tragic. (The story of a man’s ego destroyed by his social descent also echoes an earlier Jannings classic: F.W. Murnau’s The Last Laugh.) The luscious spray of nets and scrims and artful clutter is on gorgeous display in the nightclub scenes, which are simultaneously cheap and exotic, tawdry and enticing: A marvelous, messy contrast to the neat regimentation of Rath’s everyday life.
The UFA/Paramount co-production was shot simultaneously in German and English versions, but the English version (shot for the American market) is shorter and clumsier, with the two stars performing in a language that they are clearly not fluent in. The longer, original German-language version was restored from archival 35mm film elements by the Friedrich Wilhelm Murnau Stiftung and features English subtitles.