Product Details

• Actors: Emil Jannings, Marlene Dietrich, Kurt Gerron, Rosa Valetti, Hans Albers
• Directors: Josef von Sternberg
• Writers: Josef von Sternberg, Carl Zuckmayer, Heinrich Mann, Karl Vollmöller, Robert Liebmann
• Producers: Erich Pommer
• Format: Black & White, NTSC, Silent, Subtitled
• Language: German (Dolby Digital 2.0 Stereo)
• Subtitles: English
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.33:1
• Number of discs: 2
• Rated: NR (Not Rated)
• Studio: Kino Video
• DVD Release Date: November 13, 2001
• Run Time: 124 minutes
• Average Customer Review: 4.2 out of 5 stars  See all reviews (72 customer reviews)
• ASIN: B00005QW59
• Amazon Best Sellers Rank: #38,271 in Movies & TV (See Top 100 in Movies & TV)
• Learn more about "The Blue Angel" on IMDb

Editorial Reviews

Amazon.com

Five different Hollywood queens are represented in Glamour Girls, a fun Kino compendium of Golden Age titles. The entertainment value of this batch almost makes you overlook the fact that the movies have nothing to do with each other. The oldest film is The Blue Angel, the legendary 1930 classic (filmed in Germany by American director Josef von Sternberg) that made Marlene Dietrich an instant star. The story of an eminent professor (Emil Jannings) brought to his knees by seductive showgirl Lola Lola (that's Marlene) never loses its power, and von Sternberg's eye for voluptuous chiaroscuro and exquisite sado-masochism is fully expressed (he and Dietrich would make six more films at Paramount in the following half-decade). One important note: this is the English-language version of the picture (not dubbed, but shot concurrently with the superior German-language version).

Love Me Tonight is the best movie musical you've never heard of, a deliciously clever 1932 romp with Maurice Chevalier as a poor Paris tailor and Jeannette MacDonald as a wealthy aristocrat. Rouben Mamoulian's direction is a landmark of early-sound ingenuity, and the Rodgers and Hart score includes such goodies as "Isn't It Romantic?" (given an epic treatment here), "Lover," and "Mimi." The Good Fairy, from 1935, showcases the wonderful Margaret Sullavan, the throaty-voiced actress whose quicksilver reactions look as fresh and delightful today as they were 70 years ago. Sullavan begins the comedy as an orphan, becomes a theater usherette, and eventually becomes involved with meatpacking magnate Frank Morgan and bewhiskered lawyer Herbert Marshall. The matching of director William Wyler and screenwriter Preston Sturges is not a natural one, to be sure, and Wyler's direction tends to weigh the film down (he was, however, enchanted by Sullavan, whom he married--briefly). The great Sturges patter shines through, and you'll adore Sullavan.

1947's Lured puts pre-TV Lucille Ball in London, where a murderer is killing women he meets through the personal ads. The whodunit isn't difficult to guess, but director Douglas Sirk brings his elegant German precision to the proceedings, and George Sanders and Boris Karloff head a nifty cast of supporting folk. Finally, Pandora and the Flying Dutchman (1951) matches Ava Gardner and James Mason in a daft blend of mythology and Hemingwayesque Lost Generation stuff. Ava is surrounded by dashing suitors, but Mason's mystery man lures her into the realm of myth. The movie's got giggle-worthy plot twists and great Technicolor, to say nothing of glamour. --Robert Horton

Product Description

The crowning achievement of Weimar cinema, The Blue Angel is an exquisite parable of one man's fall from respectability, presented in both the newly-restored German and English-language versions. Emil Jannings, the quintessential German expressionist actor, stars as Professor Immanuel Rath, the sexually-repressed instructor of a boys prep school. After learning of the pupils' infatuation with French postcards depicting a local nightclub songstress, he decides to personally investigate the source of such indecency. But as soon as he enters the shadowy Blue Angel nightclub and steals one glimpse of the smoldering Lola-Lola (Marlene Dietrich), commanding the stage in a top hat, stockings and bare thighs, Rath's self-righteous piety is crushed. He finds himself fatefully seduced by the throaty voice of the vulgar siren, singing, "Falling In Love Again." Consumed by desire and tormented by his rigid propriety, Professor Rath allows himself to be dragged down a path of personal degradation. Lola's unrestrained sexuality was a revelation to turn-of-the-decade moviegoers, thrusting Dietrich to the forefront of the sultry international leading ladies, such as Greta Garbo, who were challenging the limits of screen sexuality.

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Most Helpful Customer Reviews

64 of 65 people found the following review helpful

4.0 out of 5 stars Kino's 2-disc DVD version December 12, 2001

By keviny01

Format:DVD

Relative newcomer Marlene Dietrich's electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her screen presence also more than overcomes Josef von Sternberg's rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic status.

Kino's region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions look very clean for a 71-year-old film, although just a tad less sharp than I would have liked. The English version looks a bit cleaner still. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The black bars, of course, cover up part of the picture. I would suggest Kino use white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to reveal her bare back side to her nightclub audience). The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich's role is all English-speaking, while the other actors speak a combination of both languages -- English for important dialogs, German for less important ones.

The included audio commentary on the German disc is a mild disappointment. Although historian Werner Sedendorf's analytical comments are excellent, he just does not speak often enough. Long stretches of silence are frequent. Kino should have thought of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a generous amount of extra material. There is a wonderful biography section that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film's production history. The best extras, unquestionnably, are the 4 film clips of Dietrich's screen test and concert performances. There is a memorable clip of the 1930 screen test of Dietrich singing "You are the Cream in my Coffee." There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of "Falling in Love Again" and "Lola Lola"). There is another TV footage of her singing "You are the Cream in my Coffee" after reminiscing about her 1930 screen test.

26 of 27 people found the following review helpful

5.0 out of 5 stars A classic of world cinema September 21, 2003

By DJ Joe Sixpack HALL OF FAMETOP 500 REVIEWER

Format:DVD

A German cinema classic from the late Weimar-era, and the film debut of super-sexy Marlene Dietrich, who is stunning in her role as a flirtatious, heartless cabaret singer whose carnal wiles bring an infatuated school teacher to ruin. But then, what is *really* responsible for his downfall? Dietrich as the temptress, his own repressed sexuality and concurrent fetishization of her beauty, or the close-mindedness of the society around them? As with much of the art of this era (in Germany and without), this film depicts the clash of the old world and the new -- the modern, open, crass, liberating and chaotic world of the individual against the older, stable, stifling, communal and "moral" world of the village and church. At any rate, the transformation of actor Emil Jannings from a fusty old humbug into a degraded shell of a man is a dramatic triumph, and the direction, by Josef von Sternberg, is flawless -- filled with darkness, closeness and brooding claustrophia. The new DVD version features both the German and English-language versions (the English version isn't dubbed, it was actually *acted* in English by the same German actors, and has a few interesting differences of moral tone...) and also includes, as an added bonus Marlene Dietrich's first screen test, which is hilarious, and a must-see for her fans.

26 of 29 people found the following review helpful

5.0 out of 5 stars A True Classic February 29, 2000

By Rebecca

Format:VHS Tape

The film that turned the head of Adolf Hitler and sky-rocketed Marlena Dietrich to international stardom is as fresh and orginal today as it was when it first hit theaters in Germany 70 years ago.

With the aid of english subtitles, we are introduced to Dr. Immanuel Rath, an esteemed professor of an upper-class German prep school. A stern and authoritative man, his feathers are ruffled severely when he learns some of his students have been neglecting their studies in favor of visiting a night club, the Blue Angel, on the more sordid side of town to hear a beautiful singer named Lola Lola.

When Rath confronts Lola, he becomes smitten with her. An infatuation which will eventually lead to his own professional and personal downfall.

Emil Jannings (the first person ever to win a Best Actor Oscar) is marvelous as the stuffy and destructive Rath, and his ham-handed pirouette into complete emotional and physical breakdown is mesmerizing. Dietrich is equally fundamental in her role as Lola, slowly seducing, not just her fellow characters, but the audience too, with her entralling presence.

Is it any wonder this film lives on?