ÉVALUATION IMDb
6,9/10
4,1 k
MA NOTE
Ajouter une intrigue dans votre langueA young man is warned by a captain about a temptress; nonetheless, he finds himself falling in love with her.A young man is warned by a captain about a temptress; nonetheless, he finds himself falling in love with her.A young man is warned by a captain about a temptress; nonetheless, he finds himself falling in love with her.
- Prix
- 1 victoire et 1 nomination au total
Tempe Pigott
- Tuerta
- (as Tempe Piggott)
Francisco Moreno
- Alphonso
- (as Paco Moreno)
Max Barwyn
- Pablo
- (uncredited)
Eumenio Blanco
- Minor Role
- (uncredited)
Eddie Borden
- Reveler with Balloon
- (uncredited)
Jill Dennett
- Maria
- (uncredited)
Luisa Espinel
- Gypsy Dancer
- (uncredited)
John George
- Street Beggar
- (uncredited)
Lawrence Grant
- Duel Conductor
- (uncredited)
Hank Mann
- Foreman on Snowbound Train
- (uncredited)
Edwin Maxwell
- Tobacco Plant Manager
- (uncredited)
Kewpie Morgan
- Coachman
- (uncredited)
Histoire
Le saviez-vous
- AnecdotesThe Spanish government threatened to bar all Paramount films from Spain and its territories unless the film was withdrawn from worldwide circulation. They protested the unfavorable portrayal of the Spanish police. Paramount destroyed the original print after its initial run, and it remained out of circulation until 1959. Marlene Dietrich herself kept a print of the film in a bank vault for safe keeping, as it was her favorite film. She feared the film would otherwise be lost. New prints were struck from her private copy in the 1980's for art house release. The superb quality of the prints in circulation now , and on DVD are because of this fact.
- Citations
Capt. Don Pasqual 'Pasqualito' Costelar: As the devil would have it, I was in town one day with nothing to do and joined some fool committee or other that was investigating labor conditions in a cigarette factory. I'd heard there were some pretty girls there.
- ConnexionsFeatured in Marlene (1984)
- Bandes originalesCapriccio Espagnol, Op.34
Music by Nikolai Rimsky-Korsakov
Played during the opening credits and as background music often
Commentaire en vedette
A young Spanish radical in old Sevilla learns that THE DEVIL IS A WOMAN, when he falls hopelessly in love with a mysterious female.
Mesmerizing & hypnotic, this is a film which arouses all the senses. Dreamlike in its visuals & nightmarish of plot, it presents imagery so persuasive as to be practically palpable. Director Josef von Sternberg & writer John Dos Passos constructed a miniature madhouse for the mind, in which the viewer gladly finds himself consigned.
Fascinating, coy, deceptive, utterly alluring, Marlene Dietrich dominates the film as an icy-hearted harlot who strews her pathway with the broken bodies & wasted lives of the men she's betrayed. With heavily lidded eyes peering out of her disturbingly beautiful face, she is the very picture of sardonic seduction. Wisely, the film allows her a moment of amusement (for the viewer), letting her perfectly sum up her philosophy in the comic song Three Sweethearts Have I.'
Dietrich's two leading men are both excellent. Lionel Atwill, sadly ignored today, once again exhibits the depth of his acting talent; Hollywood's propensity to place him in horror films often obscured his abilities. Here, he shows us a man fully aware of his complete degradation. Cesar Romero, in one of the finest roles of his early career, more than adequately carries on the tradition of the Latin Lover, but with a twist - here is a romantic hero who is not strong enough to escape from the web of the female spider.
Peevish & pompous, Edward Everett Horton is thoroughly amusing as a flustered Spanish bureaucrat.
Two wonderful English character actresses enliven the proceedings in small roles: Alison Skipworth as Dietrich's disreputable matriarch and Tempe Pigott as an old one-eyed harridan.
Movie mavens will spot Edwin Maxwell as the manager of the cigarette factory and Charles Sellon as a professional letter writer, both uncredited.
Von Sternberg created a masterwork of cinematic symbolism, with innuendo so rife it is incredible it passed the Production Code. In every way, the film is a worthy follow-up to his previous collaboration with Dietrich, the orgiastic SCARLETT EMPRESS (1934).
Mesmerizing & hypnotic, this is a film which arouses all the senses. Dreamlike in its visuals & nightmarish of plot, it presents imagery so persuasive as to be practically palpable. Director Josef von Sternberg & writer John Dos Passos constructed a miniature madhouse for the mind, in which the viewer gladly finds himself consigned.
Fascinating, coy, deceptive, utterly alluring, Marlene Dietrich dominates the film as an icy-hearted harlot who strews her pathway with the broken bodies & wasted lives of the men she's betrayed. With heavily lidded eyes peering out of her disturbingly beautiful face, she is the very picture of sardonic seduction. Wisely, the film allows her a moment of amusement (for the viewer), letting her perfectly sum up her philosophy in the comic song Three Sweethearts Have I.'
Dietrich's two leading men are both excellent. Lionel Atwill, sadly ignored today, once again exhibits the depth of his acting talent; Hollywood's propensity to place him in horror films often obscured his abilities. Here, he shows us a man fully aware of his complete degradation. Cesar Romero, in one of the finest roles of his early career, more than adequately carries on the tradition of the Latin Lover, but with a twist - here is a romantic hero who is not strong enough to escape from the web of the female spider.
Peevish & pompous, Edward Everett Horton is thoroughly amusing as a flustered Spanish bureaucrat.
Two wonderful English character actresses enliven the proceedings in small roles: Alison Skipworth as Dietrich's disreputable matriarch and Tempe Pigott as an old one-eyed harridan.
Movie mavens will spot Edwin Maxwell as the manager of the cigarette factory and Charles Sellon as a professional letter writer, both uncredited.
Von Sternberg created a masterwork of cinematic symbolism, with innuendo so rife it is incredible it passed the Production Code. In every way, the film is a worthy follow-up to his previous collaboration with Dietrich, the orgiastic SCARLETT EMPRESS (1934).
- Ron Oliver
- 16 avr. 2002
- Lien permanent
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- How long is The Devil Is a Woman?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Langues
- Aussi connu sous le nom de
- Caprice Espagno
- Lieux de tournage
- société de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 800 000 $ US (estimation)
- Brut – à l'échelle mondiale
- 2 495 $ US
- Durée1 heure 19 minutes
- Couleur
- Rapport de forme
- 1.37 : 1
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By what name was The Devil Is a Woman (1935) officially released in Canada in English?
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