Customer Reviews

Desire [VHS]

5 star:		(3)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Now that movies have degenerated into (male) car crashes, or (female) dike-rap, one returns to films like this one to try to imagine what all of Cole Porter, Cary Grant, Edward and Wallis, Duke Ellington and Fred Astaire were all about. It isn't enough to say, merely "Style;" Camp has pretty much sullied that word for two generations, now. But style -- or that combination of concept and high finish that a furniture manufacture calls The Bogart Look -- exists, or existed, once, and one can see it here, live and bubbling like a genie of mirth climbing out of a champagne bottle.

The plot is simple enough: a beautiful European jewel thief on the run accidentally meets and falls in love with a naif but excruciatingly handsome American guy in a very good suit. They go through the choreography of flirtation in back-lot Southrn Spain, surrounded by a stellar crew of supporting players with wonderful accents.

Dietrich, again in her version of the Dolores Del Rio look, wearing a dress nobody else in the world could wear, sits at the piano and accompanies herself in the song, "You've Got That Look." It is too insane! It is wonderful. It's a performance you'd have paid a hundred bucks (in 1940's money) for in a good New York hotel boite, but Lena Horne or Eartha Kitt or even Hildegarde would have given it to you.

This is all about the Romantic Feature Film as comic art. It ought to be required reading for all the film wanabees who hope to direct, and somehow get the chance, but turn out low-brow drivel like When Harry Met Sally. You can (and maybe you should) watch this movie over and over, the way you enjoy anything rare and precious. Like the Marx Brothers comedies, it has healing power, and pre-war value.

Every element in it is expertly integrated. It's a short movie, really, but so perfectly realized you have the impression of having had either a convincing halucination, or a true life experience.

Champagne for the eyes.

This was Marelene Dietrich's last money-making film for Paramount Studios during her original time as a contract player. She had just left Josef Von Sternberg, her mentor,(or he had left her) and the public was beginning to tire of her. In this film she seemed more relaxed, more at ease, and seemed to be having a lot of fun during this film, not to mention looking absolutely gorgeous in each costume. Gary Cooper, with whom Dietrich had made her American film debut in 'Morocco', was again her co-star, and again the chemistry worked. This had to be one of the most beautiful couples ever rendered in black-and-white film.
The story and plot centers around a stolen and then lost strand of pearls, and Dietrich's(the thief) efforts to get them back from an innocent man(Cooper), on whose person she hid them in order to escape. All works well in her plan until she finds herself falling in love with him, and he with her. There's always
something to mess up every well-laid plan, eh?

Anyway, this film greatly benefits from the producer, Ernst Lubitsh, and his famed "Touch". there is a lot of real, adult humour in this film without going ribald. Lots of excellant photography and gorgeous costume work, and Dietrich and Cooper being themselves. What more could you want?

Madeleine du Beaupre steals a pearl necklace from a Paris jewelry firm and rushes by car for the Spanish border. On the road, she zooms past Tom Bradley, a young American engineer on vacation, who is also heading for Spain. At the border, going through customs, Madeleine drops the pearls into Tom's coat pocket; he gets safely through....Cooper stated back in 1930, after making MOROCCO with Dietrich, that he wouldn't make another picture with her. It was found out later that what he meant specifically, was that it was their director - Josef Von Sternberg - that he didn't care to work with again. Paramount had wanted to team Cooper with Dietrich immediately after their successful stint in MOROCCO but Cooper balked at the idea for some time. In 1935, Coop was asked if he'd be willing to co-star with Dietrich in THE PEARL NECKLACE - this film's working title - and he readily agreed. Gary and Marlene make a good pair; his quiet, well-mannered countenance complimented her sophisticated style perfectly. Cooper brings a freshness and humour to his role; he's charming as the the naive lad from Detroit - the idyllic typical American male of the 1930's - and he seems to be having a great time to himself. DESIRE'S story really isn't much, but the production has panache, and the way the two stars handled their roles make this a film to view more than once. Look for a 49 year-old Bill (Fred Mertz) Frawley in his role as Mr. Gibson.

DESIRE (1936) came during one of the most ghastly low-points of Marlene Dietrich's early Hollywood career. Paramount excecs had finally driven a hard wedge between Dietrich and her mentor/director-of-choice Josef von Sternberg following the disastrous reception of "The Devil is a Woman" in 1935. She had been languishing in a series of droll, albeit stunningly designed, melodramas, so what could be the better time to showcase Dietrich in a sparkling romantic comedy from Hollywood's hottest director of the moment, Frank Borzage? Which brings us to DESIRE...

Madeleine de Beaupre (Dietrich) has just pulled off the heist of the century, stealing a multi-million dollar pearl necklace - and largely thanks to the assistance of it's designer, no less! Whilst speeding through Spain to meet her accomplices, she meets vacationing American auto engineer Tom Bradley (Gary Cooper) and hides the necklace in his jacket pocket to evade customs officials at the Spanish border. Now all she needs to do is romance her man and the necklace is as good as got...

This is a gorgeous romantic comedy; the perfect antidote to the dramatic pieces that had pigeonholed Dietrich up until this point. Swathed in Travis Banton's fashions (her preferred costumier for the bulk of the 1930s including "Shanghai Express" and "The Garden of Allah"); she looks amazing, clearly relishing her smart new "modern" film transformation. Gary Cooper - Dietrich's "Morocco" leading man - provides the necessary fireworks and has the right "aw shucks" quality for the role of the naive American tourist.

Co-starring John Halliday, William Frawley, Ernest Cossart, Akim Tamiroff, Alan Mowbray and Zeffie Tilbury, DESIRE is *sadly* still one of Dietrich's least known or remembered efforts, something which I sincerely hope changes in the near future, because it offers so much enjoyment and delight.

Dietrich plays a sophisticated jewel thief who steals a valuable string of pearls from a Parisian jeweler. While fleeing the city, her car breaks down. In comes Gary Cooper, an American on vacation, to save the day. She ditches him and goes on her merry way to meet up with her accomplices in the next town, where she again runs into Cooper. Naturally, they fall in love. This is just an all around fun movie to watch, one that can be seen over and over again. This is the second film Dietrich and Cooper made together, the first being "Morocco". Their chemistry is superb. Dietrich was given one song to sing in the film, "Awake in a Dream", which she performed while playing a piano. This is definately one of this reviewers favorite Dietrich films. A must see for anyone!

Paramount studios specialised in classy continental romantic comedies and this is one of the very best. Exquisitely directed by Frank Borzage, that master of romance, and produced by Ernst Lubitsch, that master of the bedroom farce, "Desire", released in 1936, stars Marlene Dietrich in one of her wittiest performances as a jewel thief who reforms under the influence of love for American engineer Gary Cooper. Cooper was also never more droll and relaxed and together, they make maybe the best looking couple in American films of the thirties. The lighting and editing are outstanding so the film presents as a delicate piece of porcelain, every nuance carefully constructed and magically presented. Dietrich looks sensational as dressed by Travis Banton, her favourite designer. She also sings a song at the piano which is worth the price of the DVD alone. The reaction shots of Cooper, squinting with delight, mirror our own.

The print is very good in spite of some intermittant pops and a few verticle lines in places. There are no extras other than the obligatory scene selection. The DVD is available in the UK very cheaply but you will need a multi region player to watch it outside the Commonwealth/Europe.

The fashions of the times are superb in this movie Dietrich plays her usual romantic self and shines. I reccommend this film for all who love fashion, jewels and clean humor.