The film is an triumph of effortless story execution, pinpoint humor, and acting masterclass.
The film is less a parody than a surprisingly beautiful and somber precursor to many autumnal “late” westerns.
One of the naughtiest and most erotic pre-Code films gets a sparkling new transfer and erudite commentary track.
We’re taking a look back at the song the Queen of Pop has perpetually made shiny and new.
The set affirms the profound emotional power of these idiosyncratic collaborations.
Most film critics have a pretty good handle on what it is a director does, what a cinematographer does, what an editor does. Acting, however, remains a little bit mysterious.
Von Sternberg’s ever-weird first collaboration with Marlene Dietrich is a historic early sound film.
Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper.
From the animated to the animalistic, the perfect to the perverse, this list is one royally diverse bunch.
The film laid down a solid template for Josef Von Sternberg and Marlene Dietrich’s strange relationship.
The list of “obstructions” ought to be familiar to anyone with any exposure to this parlor game.
Witches, wives, and even Whoopi made this list of women who sport only the darkest uniforms.
Without a doubt, this 2011 edition was the film festival experience of the year for me.
Pina Menichelli is the very ideal of the diva in Il Fuoco
Sin! Booty-shaking! Sexy lingerie! Gambling! Home-wrecking dames! Gents who won’t take no for an answer!
The parrying between the withholding diva and her frustrated chronicler brings to mind Sunset Boulevard.
This Marlene edition’s bare-bones production might prompt a Dietrich-like hissy fit.
The result is a nearly perfect hybrid film, lusciously careful and Lubitsch-like with passionate Borzage feelings underneath.
An adequate Dietrich DVD set with three essential films and two amiable duds.
As make-out music goes, Love Songs might only be fit for frantic masturbation, but as a tribute to a unique stylist, it’s essential.