The Devil Is a Woman

The last of seven Dietrich and von Sternberg collaborations suffers from the misogyny of the story on which it's based, and frankly it's also a bit of a mess. I'm not a big fan of story lines that involve an evil woman leading a man on such that he's rendered helpless by her charms, yet continues pursuing her despite her cruelty (e.g. 'Of Human Bondage' by W. Somerset Maugham, which was made into a film with Bette Davis in 1934, the year before this one). In the original story by Pierre Louÿs, whose erotic writing would sometimes dip into misogyny, the man in question eventually feels like he's had enough, and beats her. She likes this so much that he wins over, so yeah ... ugh.

This explains why the Hays Office censored the song "(If It Isn't Pain) Then It Isn't Love" from the film, even if in listening to audio recordings which survive, it doesn't seem salacious in its lyrics (e.g. "if it doesn't drive you insane, it can't be love"). In the film we do hear the beating though, after which Dietrich coos "Look at me. Look, Pasqualito. I'm black and blue. I know I've been cruel, but I'll make up for it. Tell me what you want me to do." Her hair has two circular coils in front, reminiscent of Goya's portrait of Thérèse-Louise de Sureda and clearly a reference to female anatomy, her mouth is right up to his ear and she's offering herself, but the eroticism of the scene is diminished severely because of the physical violence, which is all the more disturbing because it's shown to be appropriate, accepted by Dietrich, and effective in changing her behavior.

Dietrich does have her moments in the film, like when she makes a show of putting on her shawl and looking up at Lionel Atwill with beguiling eyes, and then later dramatically throwing open a thin curtain and with arms outstretched, staring defiantly at him. The film has high production value, with gorgeous outfits, headdresses, and hair/makeup, which maybe is the reason Dietrich liked it so much. The set designs are ornate and fabulous (iron gates and windows come to mind), and the crowd scenes showing life in Spain are energizing. It's a small scene, but I loved seeing the gypsy dancer on the train (apparently Luisa Espinel, uncredited), probably more than anything Dietrich does.

Unfortunately, Dietrich seems out of place for most of the film, and it's not just because she isn't Spanish, though that doesn't help. Early on she's much too made up, and hardly looks like she fits in the working room of cigarette rollers. As she plays cat and mouse with her suitor she acts absurdly, asking him if she's the only one in a silly, exaggerated way, and this along with other dramatic moments where she emotes oddly seemed to be Dietrich trying (and failing) to "act Spanish." It's an annoying character, and played unbelievably by Dietrich, much as it pains me to say it. Her musical performances are flat too. There's enough here to make it watchable, but you can do much better with other Dietrich/von Sternberg films.

"The is a Woman" is a wholly artificial film, dealing with wholly artificial people, amidst wholly artificial surroundings. Like "The Scarlet Empress" with imperial Russia before it, "The is a Woman" takes the simple idea of old Spain during carnival, and exaggerates it into a fantastic world choking itself with an impossible amount of streamers, confetti, and grotesquely costumed revelers. Essentially to Spanish to possibly be Spanish, the atmosphere created gives a richly textured visual feel. It becomes a costume as garish as those the Spanish people wear, disguising a series of complex and controversial themes, which could never be used as open plot devices. Director Josef von Sternberg is obviously aware of the conventions and restraints set up by Hollywood, twisting them to his own good. Using the illusion of a typical Hollywood story, he thinly but potently veils these visual costumes, which in themselves hide his rich themes, creating a film so layered its staggering!

At the center of all this is a Dietrich so beautiful, it is not quite possible to believe she ever existed outside this fantastic world created for her. Impeccably lighted, and costumed in the most flamboyant trappings imaginable, she is a toyingly evil creature of film, more alive than ever. Is it any wonder her character ruins so many men, on film alone you could fall in love with her?!

"The is a Woman" is a completely visual film. It's themes and ideas do not come from what you hear, but what you see. The plot, which seems to hide them, is really needed only that these themes and visuals may gradually reach you. I think, essentially, that story for Sternberg was like the cherry flavor in cough medicine, designed only to help you swallow the truly important stuff. Perhaps we may never reach the center of a film like "The is a Woman." If we did would we find the key to everything, or merely emptiness?

The one thing everyone seems to miss Is that Lionel Atwill looks a lot like Sternberg. Looking at the Dietrich/Sternberg collaborations it's hard not to notice that Adolph Menjou, Herbert Marshall, and Lionel Atwill seem to be Sternberg surrogates, which knowing about the Dietrich/Sternberg relationship, adds a perversity and depth to viewing the films.

If you look at the screen test for Blue Angel available on the blue angle DVD, you can already see Dietrich's disdain that seems an enormous part of her screen character in their collaborations. The Devil is a Woman is a story of a man who ruins his career in pursuit of a woman. Pretty hard not to see parallels to Sternberg's career. This was his last big budget film and one that remains a lasting testament to "l'amour fou."

In the carnival in Spain in the beginning of the Twentieth Century, the exiled republican Antonio Galvan (Cesar Romero) comes from Paris masquerade to enjoy the party and visit his friend Capt. Don Pasqual 'Pasqualito' Costelar (Lionel Atwill). However, he flirts with the mysterious Concha Perez (Marlene Dietrich) and they schedule to meet each other later. When Antonio meets Pasqualito, his old friend discloses his frustrated relationship with the promiscuous Concha and her greedy mother (Alison Skipworth) and how his life was ruined by his obsession for the beautiful demimondaine. Pasqualito makes Antonio promise that he would not see Concha. However, when Antonio meets Concha, she seduces him and the long friendship between Antonio and Pasqualito is disrupted.

"The Devil Is a Woman" is the last movie of director Josef Von Sternberg and Marlene Dietrich together. The romance tells the story of a cold- hearted dancer that has a promiscuous life and is financially supported by her obsessive lover in an unrequited love. The man ruins not only his professional life, but also his long friendship with Antonio. Marlene Dietrich is beautiful in this film and the role seems to be tailored to her. The excellent cinematography in black and white is very impressive. My vote is seven.

Title (Brazil): "A Mulher Satânica" ("The Satanic Woman")

This film takes place in Spain during the early part of 20th Century where a large carnival has just begun. It's at this time that a young man by the name of "Antonio Galvan" (Cesar Romero) spies a lovely young maiden named "Conche Perez" (Marlene Dietrich) who then offers to go for a ride with him the next morning. However, that same night, Antonio is informed by an old acquaintance that he greatly respects named "Don Pasquale Costelar" (Lionel Atwill) to avoid her at all costs as she is nothing but trouble. Pasquale then proceeds to tell him that he was once in love with her and upon confiding some in-depth details of how she broke his heart, Antonio swears that he will have nothing to do with her. Unfortunately, he soon finds that to be much more difficult than he initially realized and because of that trouble soon erupts between them. Now rather than reveal any more I will just say that this was a delightful film made especially enjoyable by the performance of Marlene Dietrich who shows why she was such a movie sensation during this time. Admittedly, this picture is quite dated and that for that reason it might not appeal to everyone. But having said that, I believe that those who like classic films from this particular period might find this one to their liking and for that reason I have rated it accordingly. Above average.