DeMille and the edgy melodramas of Josef von Sternberg
, the result is deeply nostalgic and somewhat doleful.
While substantial scholarship has been dedicated to Marlene Dietrich's considerable influence on her performances, ranging from her voice to her appearance, as well as to Josef von Sternberg
's role in shaping both Dietrich's performance and her star persona, this article argues for a more complex understanding of authorship: the representation of the female cabaret performer as icon is constructed not only by Dietrich (and von Sternberg) but also by the contrasting gazes it captures and refracts (see Koepnick 47-54).
Tyrannical director Josef Von Sternberg
clashed with temperamental acting genius Charles Laughton, the latter complaining he just 'couldn't get' the role.
If no longer very much read, it is recalled still as the basis for the 1930 film, Josef Von Sternberg
's Der Blaue Engel, or The Blue Angel, which first dangled Marlene Dietrich before a mesmerized world.) Had he been afforded the opportunity of writing Death in Venice over again, Thomas insisted, he would have made it significantly less of a "mystification." And, indeed, as we have long known, the reality is that, notwithstanding his claims to the contrary--that the novella's narrative had simply and magically unfolded before his eyes and that all he had had to do was transcribe it from life, as though taking dictation from God--he had been as economical with the factual truth as the majority of his fellow novelists.
(2) In this context, Josef von Sternberg
's Der Blaue Engel ceases to be a film about the tragic fall of Professor Rath, "an innocent creature who is corrupted by Lola," as Judith Mayne ironically paraphrases and summarizes traditional plot summaries of the film, suggesting that they imply a conservative reading of the film that surfaces even in more sophisticated interpretations.
Another imported director with a more assimilative temperament, the Austrian Josef von Sternberg
, was now given the job of bringing An American Tragedy in line with Hollywood expectations.
Some other Wyant picks: "The Man Who Shot Liberty Valance," which he remembers seeing for the first time in childhood (The 1962 John Ford Western tells the story of a tenderfoot lawyer who needs a tough guy's help to civilize a frontier town); "The Conversation," a 1974 Coppola film that's "a fun one to watch because it's so full of up and coming stars," including Gene Hackman, Teri Garr and Harrison Ford; "The Last Laugh," another silent by Murnau, shot in 1924 and told entirely through cinema, without title cards; Josef von Sternberg
's 1930 "The Blue Angel"; Delbert Mann's 1955 "Marty" (`That's the film I usually watch on my birthday," he says); Elia Kazan's 1957 "A Face in the Crowd"; Jim Jarmusch's 1996 "Dead Man"; Robert Altman's 1971 "McCabe & Mrs.
Wellman, and Josef von Sternberg
. He may have had roles in several bona-fide classics, including The General and Beggars of Life, released respectively in 1927 and 1928.
Shot in sumptuous black and white worthy of Josef von Sternberg
and filled with slices of the surreal and the cruel, Winnipeg visionary Guy Maddin's second feature is a masterpiece: a wistful, luminous conflation of absurdity, high romance, heroic delusion and the Canadian colonial.
The book's interviews vary in length, from the few terse exchanges with Josef Von Sternberg
to the more than a hundred pages with Howard Hawks.