Josef von Sternberg
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I love how they are able to find in the cinema a set of moral standards � a clip from Freaks demonstrates their sense of camaraderie as much as one from Mouchette demonstrates a sense of moral consequence or Marlene Dietrich�s Blonde Venus song and dance routine keys them into the exoticism of sex.
Some of these moments are inspired, as when Isabelle can-cans with a mop, her dance intercut with footage from the film she's emulating, in this case "Blonde Venus," starring Marlene Dietrich.
Anna May Wong, the leading Asian American idol of the period, is the obvious model for Lady Fay Zhu (Li Jun Li), though Fay’s very public smooching of a woman is more of a nod to Marlene Dietrich, in “Morocco” (1930).
She owns the party, as Anna May Wong once did, but this time with Dietrich swagger as she recreates the famous same-sex kiss from Morocco (1930).
The Grand Budapest Hotel (2014)
Directed by Wes Anderson
influenced by The Blue Angel (1930)
Visuals
Shot largely at Germany’s legendary Babelsberg Studios, where “Metropolis” and “The Blue Angel” were made, “The Grand Budapest Hotel” recalls the work of such cosmopolitan European transplants as Ernst Lubitsch and Josef von Sternberg.
Frances Ha (2013)
Directed by Noah Baumbach
influenced by The Devil Is a Woman (1935), Morocco (1930)
You could make a season of films like that, and it would have to include Griffith and Lillian Gish (Broken Blossoms); von Sternberg and Marlene Dietrich (Morocco, The Devil is a Woman); Antonioni and Monica Vitti (L’Avventura); Hawks and Lauren Bacall (To Have and Have Not); Capra and Barbara Stanwyck (The Miracle Woman, The Bitter Tea of General Yen); Godard and Anna Karina (Vivre Sa Vie, Pierrot le Fou); Ingmar Bergman and nearly every actress he worked with (Persona, Cries and Whispers, Summer with Monika); Hitchcock and Grace Kelly (Rear Window), and Hitchcock and Tippi Hedren (The Birds, Marnie); and Truffaut and Jeanne Moreau (Jules and Jim) and Truffaut and Catherine Deneuve (Mississippi Mermaid).
You could make a season of films like that, and it would have to include Griffith and Lillian Gish (Broken Blossoms); von Sternberg and Marlene Dietrich (Morocco, The Devil is a Woman); Antonioni and Monica Vitti (L’Avventura); Hawks and Lauren Bacall (To Have and Have Not); Capra and Barbara Stanwyck (The Miracle Woman, The Bitter Tea of General Yen); Godard and Anna Karina (Vivre Sa Vie, Pierrot le Fou); Ingmar Bergman and nearly every actress he worked with (Persona, Cries and Whispers, Summer with Monika); Hitchcock and Grace Kelly (Rear Window), and Hitchcock and Tippi Hedren (The Birds, Marnie); and Truffaut and Jeanne Moreau (Jules and Jim) and Truffaut and Catherine Deneuve (Mississippi Mermaid).
(It’s kind of like Sternberg’s Shanghai Express (1932) with flying viscera, gross-out humor and rampaging bad taste.)
If you really crave secrets, try “ Dishonored ” (1931), in which Marlene Dietrich is offered a similar chance at espionage.
Still, this romantic aspect of Allied is uninteresting, mostly because it lacks the sensual, existential suspense that made Josef von Sternberg’s Dishonored and Morocco transcend politics.
Still, this romantic aspect of Allied is uninteresting, mostly because it lacks the sensual, existential suspense that made Josef von Sternberg’s Dishonored and Morocco transcend politics.
In lighter moments, it’s more like Sternberg’s 1928 The Last Command, in which an exiled Russian general winds up playing himself on a Hollywood lot.
…invoking Marlene Dietrich and the song “Falling in Love Again,” from The Blue Angel , is an insult.