The Blue Angel (Movie, 1930) | STATIC MASS EMPORIUM Producer: Erich Pommer Cast: Emil Jannings, viagra buy Marlene Dietrich I remember when I first fell in love with German cinema. It was in October 1999 when I saw Run Lola Run. Sitting there in the darkened auditorium and experiencing this hyper state of story-telling I couldn’t help but wonder why up until then I’d never seen a German film before. A year later I would be living in Berlin and soaking up soaking up both contemporary and classic offerings but it wasn’t until I visited its famed Studio Babelsberg in 2001 and saw some of the vintage costumes on display and began to read up on it that I really came to comprehend and appreciate the importance of Germany’s history of cinema. Its birth can be traced back to November 1st 1895, not with an exhibition of the Lumière brothers’ Cinematographe, but with Max and Emil Skladanowsky’s own film projector.

They would later realise the Lumière brothers’ Cinematographe was much better than theirs and while these moving pictures were at first seen as a pastime for the bourgeois, it wasn’t long before the short films were being seen by the working and lower-middle class as well. In the years that followed, the films became longer and those who appeared in them became the first stars of silent cinema. The formation of Universum Film AG (UFA) during the years of World War I went hand in hand with the propaganda and Vaterland films that were being produced, but from 1918 until the start of World War II something wonderful happened – the Weimar Republic. Germany would see a flourishing of creativity that crossed all borders from art and literature, into music and film. It’s this creative flourishing that we refer to, as the ‘Golden Years’.

Eberhard Kolb writes about it in the opening of the chapter The Weimar Republic “When the Weimar years are referred to nostalgically as the ‘golden twenties’, those who do so are not thinking of the long-drawn-out political and economic distress but of the eruption of a new vitality, the liberation of creative forces in a short decade of unbounded intellectual and artistic freedom.” ¹ This intellectual and artistic freedom is exactly what gave birth to a film like The Blue Angel. First with the novel by Heinrich Mann (which the film is based on) and then through Josef von Sternberg who took inspiration from Frank Wedekind’s 1895 play Earth Spirit with a character called “Lulu”, and of course Pandora’s Box (1905), to create a character like Lola Lola (originally called Rosa Frohlich in Mann’s novel). The Blue Angel demonstrates the typical social and sexual anxieties Germans were facing at this time. Is also combines cinematic aesthetics with brand new technology to produce what would be referred to as one of Germany’s first major sound films.

It was also the film that catapulted its star Marlene Dietrich to international stardom and is noted for incorporating elements of previous expressionist films from the Weimar era perfectly into its setting without ever actually becoming an expressionist film itself. As a result, it is hard to say if this makes it typical or untypical as Weimar film, but it would not necessarily wrong to see it to view it both ways. Its visual style helps to balance the film effortlessly against the backdrop of the sleazy cabaret life that Lola Lola leads the professor into. The expressionist elements are visible from the opening scene where the rooftops, houses and streets recreate those expressionist qualities already seen in The Cabinet of Dr Caligari (1920). This is picked up by Richard McCormick in The Cabaret of Humiliation, Gender, Spectacle and Spectatorship in Josef von Sternberg’s The Blue Angel: “The film’s first images thus are gothic rooftops like those seen in both Caligari (1920) and Nosferatu (1922); the next shot of a lower-class street milieu, made up entirely of women, evokes the tenements of The Last Laugh (1924).

The street itself is filmed a bit later in a way that evokes other street films, especially Bruno Rahn’s Tragedy of the Prostitute (Dirnentragodie, 1927). Heading for the Blue Angel the first time, Professor Rath makes his way down a street that is portrayed ominously as a realm of shadows, an eroticized lower-class milieu in which a prostitute briefly appears.” ² McCormick also points out more notable features from these expressionist films that also appear in The Blue Angel including the final scenes which recalls The Last Laugh with the use of the flashlight: “The flashlight of a nightwatchman is used in both films to seek out a ruined man in the depths of darkness: in The Last Laugh, it is the demoted doorman collapsed on a chair in the men’s room of the hotel; in The Blue Angel, it is the deceased Rath, clutching his desk in the classroom he once dominated. This use of the flashlight’s beam is arguably a cinematically “self-reflexive” moment of foreground looking, reminiscent of Rotwang’s beam in Metropolis (1927), which pursues and traps Maria in the dark caverns below the city.

At the same time it bears a relation to the “cold”, “surgical” gaze so often mentioned in accounts of Weimar society and New Objectivity by recent scholars.” ² The Blue Angel is a paradigmatic product of Weimar culture, but there are also a couple of ways in which the film is less typical of Weimar in this time. Unlike the many films that came out Weimar before, The Blue Angel was a “talkie”; its characters spoke and sang and they could be heard talking in the background, applauding in the audience, climbing up the stairs and most of all; closing the doors as they entered or left a room. This however is not the only thing that sets it apart from other films in the Weimar years. It’s also considered to be one of the last blooming moments in Weimar history before it was all destroyed by fascism. Also, unlike most films which came before, this one was simultaneously shot in English and German, allowing for it to easily be exported to countries like America where Dietrich would later be welcomed as an international star and the trademark song “Falling in Love Again” would become immortal, reaching cinema fans around the world for generations to come.

It is also the first time we are introduced to a femme fatale. It is hard to separate the character of Lola Lola, and Dietrich the actress; both are strong, intelligent, calculating, powerful and enigmatic. The appearing similarities were not unnoticed by Sternberg when he cast her in the role. In John Baxter’s chapter on The Blue Angel in The Cinema of Josef von Sternberg, he mentions that another actress had previously been cast in the role (Kathe Haack), but as soon as Sterberg set eyes on Dietrich, he knew no one else could play her and urged Erich Pommer to talk to Kathe and pay her off as a contract had already been signed. There were some problems however with Dietrich as Lola: “She spoke little English – the contract specified that the film be shot in two versions, German and English – and had no singing voice at all. The awkward shape of her nose made photography difficult, and her stage presence was bovine and charmless. Yet Sternberg, enchanted by her reserved eroticism, fell in love immediately with the woman he saw she would become.” ² Did she become Marlene or did she become Lola Lola?

Displaying traits of femininity one minute only to reappear the next completely androgynous, her ability to command an audience and bewitch the men around her, not through any talent but by utilising her sexuality; was it Lola or Marlene? Either way, similar traits had already been seen in women in films such as Metropolis and Diary of a Lost Girl but in The Blue Angel, you get them all rolled into one. Previously the villain in earlier films had been a monster or robot or deranged mad person, but here (if you view Lola as a villainess or femme fatale), she does not fall into any of these categories, she is quite simply an ordinary woman who is a product of the social and sexual anxieties that defined this era. She is the first of the femme fatales that we would continue to see on the screen for many years to come, the first vamp. As McCormick notices: “Here the figure of the “monster” is a vamp – not a machine as in Metropolis, but nonetheless “phallic”.

Such psycho-sexual connotations are combined with sociological ones as well: the film’s vamp, Lola Lola, portrayed by Marlene Dietrich in the role that would make her an international star, is also a working woman, and her marriage to Rath can be seen in reference to Weimar’s “crisis of marriage”. Modern fears about marriage and working women were by no means exclusive to Germany, but in this film they manifest themselves in a very “German” scenario that is an adaptation (albeit a very unfaithful one) of a left-wing German novel from the turn of the century, Heinrich Mann’s Professor Unrat (1905).” ² One final example of what might separate this film from other films in the Weimar era, such as Metropolis, is the fact that it was hated by the Nazis. Whereas they loved Metropolis with its futuristic vision of a city towering high above into the sky with millions of workers beneath it, The Blue Angel stood for a lot of the things which they hated and tried so hard to force out of society. Was it because of the all singing, all dancing cabaret performers in their androgynous outfits and carefree lifestyle? Richard W.

McCormick hints to another reason why they might have hated the film. They might not have enjoyed watching it because of the spectacle of humiliation, defeat and powerlessness of one man by a woman. McCormick tells us exactly why this is one of the last films before World War II in which you see such a spectacle of humiliation: “The masochistic staging of humiliation may proceed in the service of being “contained”, yet it is both provocative and telling. Clearly, such display of male weakness would soon vanish from the German cinema: the Nazis hated The Blue Angel – and any such wallowing in humiliation. The anxieties in the film are not exclusively psychic, of course; they are part of larger fears triggered by modernity and its destabilisation of traditional gender roles (and other identities).” ² SOURCES: Eberhard Kolb and P.S. Falla (1988) The Weimar Republic, Routledge ¹ Palgrave Macmill(2002) Gender And Sexuality In Weimar Modernity, Palgrave Macmill ² If the Nazis hated it, then this reason alone makes The Blue Angel a great example of a product of the Weimar era.

It represents not only what was what was going on at the time in terms of cinema and art, but also perfectly illustrates the social anxieties and sexual modernity of the times. It was a time when people were changing and the way we viewed things were changing. For as many reasons why The Blue Angel is a typical product of the Weimar era, there are just as many reasons which can be employed to show it as untypical. Viewed all together, they form a very clear set of examples as to why this film has endured as long as it has and why it will continue to do so as a Weimar film. BACK TO TOP Patrick Samuel The founder of Static Mass Emporium and one of its Editors in Chief is a composer and music producer with a philosophy degree. Static Mass is where he lives his passion for film and writing about it. A fan of film classics, documentaries and World Cinema, Patrick prefers films with an impeccable way of storytelling that reflect on the human condition. You can find his music on Soundcloud .

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— Founder & Editor in Chief — The Blue Angel (Deluxe Blu-ray) - Kino Lorber Theatrical The Blue Angel (Deluxe Blu-ray) The Blue Angel (Deluxe Blu-ray) Cast Directed by Josef von Sternberg The crowning achievement of the Weimar cinema, THE BLUE ANGEL is an exquisite parable of one man's fall from respectability, and the film that catapulted Marlene Dietrich to international stardom. It is presented here in both the restored German version and the English-language version (shot simultaneously). Emil Jannings (The Last Laugh) stars as Professor Rath, the sexually repressed instructor of a boys' prep school. After learning of the pupils' infatuation with a local nightclub songstress, he decides to personally investigate the matter. But as soon as he enters the shadowy Blue Angel nightclub and steals one glimpse of the smoldering Lola-Lola (Dietrich), Rath is fatefully seduced by the throaty voice of the vulgar siren. Country:German Runtime: 107 Min. (German) / 104 Min.

(English) Aspect Ratio: 1.19:1 1920x1080p Join the conversation @KinoLorber on Jan. 19 2017 at 3:46pm Simon Stone’s THE DAUGHTER opens Jan 27 at @Cinema_Village , after receiving 10 Film Critics Circle of Australia nom… @KinoLorber on Jan. 19 2017 at 11:22am “Oscar-worthy” & “gorgeously composed” (Detroit Press) Fire at Sea starts tomorrow @DIADetroit in #Detroit Tickets: @KinoLorber on Jan. 17 2017 at 3:30pm Congratulations Isabelle Huppert for receiving the @uniFrance's French Cinema Award! @KinoLorber on Jan. 16 2017 at 9:28pm RT @MarkHallFilm : @laeater reports on mislabeled fish for sushi 🍣 In L.A! Time to rewatch SUSHI: THE GLOBAL CATCH @amazon @iTunes @KinoLorb… @KinoLorber on Jan.

16 2017 at 4:04pm KING: A FILMED RECORD...MONTGOMERY TO MEMPHIS is a monumental documentary that follows Dr. King from 1955 to 1968.… @KinoLorber on Jan. 16 2017 at 3:28pm A @NewYorker story on Csanád Szegedi, the Hungarian politician who’s the focus of KEEP QUIET, opening Feb 17 in #NYC @KinoLorber on Jan. 16 2017 at 1:09pm RT @alamogreaterny : Happy MLK Day! At 7pm, we screen 3 films from @KinoLorber's Pioneers of African American Cinema to benefit @ACLU https… @KinoLorber on Jan. 13 2017 at 9:33pm We couldn't be prouder: NEON BULL @boi_neon by Gabriel Mascaro has won the @CinemaTropical award for Best Latin American Film of the Year. @KinoLorber on Jan.

12 2017 at 7:54pm Come see the film @indiewire called "The First Satisfying Movie of 2017." THE SON OF JOSEPH premieres this Friday a… @KinoLorber on Jan. 12 2017 at 3:05pm Congratulations to @keithmaitland and team for winning the @cinemaeyehonors award for Outstanding Achievement in An… Amazon.com: The Blue Angel (Kino Restored Edition) (English Subtitled): Emil Jannings, Marlene Dietrich, Kurt Gerron, Hans Albers: Amazon Digital Services LLC The Blue Angel (Kino Restored Edition) (English Subtitled) NR CC 4.2 out of 5 stars ( 136 ) IMDb 7.8/10 Marlene Dietrich stars as nightclub singer Lola Lola, whose unrestrained sexuality was a revelation to moviegoers of the early 1930's. Emil Jannings delivers a towering performance as the sexually repressed professor of a boys school who is fatefully seduced by Lola Lola and dragged down a path of personal degradation. German with English subtitles.

Starring: Available to watch on supported devices . Are you a student? Click here to start your six-month trial to get unlimited access to thousands of movies and TV shows, including Amazon Original Movies and award-winning Amazon Original Series. When renting, you have 30 days to start watching this video, and 3 days to finish once started. Rent Movie SD $2.00 By placing your order, you agree to our Terms of Use . Sold by Amazon Digital Services LLC. Additional taxes may apply. Customers Who Watched This Item Also Watched Product Details Emil Jannings , Marlene Dietrich Supporting actors Amazon Video (streaming online video) Customer Reviews By Richard Gordon on December 18, 2012 Format: Blu-ray Verified Purchase BUYERS BEWARE: The reviews Amazon shows under this listing for the KINO Blu-Ray Release of "The Blue Angel" seem to include reviews of various other releases of the film (including reviews of the KINO standard definition 2 DVD release). Some of these reviews indicate the particular release being reviewed and some do not.

Unlike the KINO standard definition 2 DVD release of the film (which contains two separate versions of the film - the German language version & the English language version - plus a commentary track and various extras), the KINO Blu-Ray release contains only one version of the film - the German version (with selectable English subtitles) - and absolutely none of the extras found on the KINO standard definition DVD 2 disc release. On the Blu-Ray release, there is not even the commentary track. The film is of course a classic and has never looked better than it does in this Blu-Ray release on KINO. However, if you want to hear the commentary track, see the slightly different English language version (which was not dubbed later, but rather was filmed separately in English, using separate takes, at the same time the German language version was filmed) or see any of the other extras that KINO included on their standard DVD 2 disc release, you have to buy their standard DVD 2 disc release in addition to or instead of their Blu-Ray release. Why KINO chose to omit all this important material from the Blu-Ray Release is a mystery. That it significantly reduces the value of the Blu-Ray release is undeniable.

Josef von Sternberg's The Blue Angel Officially Announced What's your next favorite movie? Join our movie community to find out Image from: Life of Pi (2012) Josef von Sternberg's The Blue Angel Officially Announced Posted November 7, 2013 04:31 PM by Webmaster Kino Classics has officially announced and detailed its upcoming 2-disc Ultimate Edition Blu-ray release of director Josef von Sternberg's The Blue Angel a.k.a Der blaue Engel (1930), starring Marlene Dietrich, Kurt Gerron, and Emil Jannings. The release will be available for purchase online and in stores across the nation on December 17th. This upcoming 2-disc Blu-ray edition from Kino Classics will include the original German-language version (with optional English subtitles), newly restored in HD from archival 35mm elements by the Friedrich-Wilhelm-Murnau-Stiftung. It will also include the English-language version (shot simultaneously by Sternberg) on Blu-ray in the United States for the first time, as well as scene comparisons between the two versions.

The crowning achievement of the Weimar cinema, The Blue Angel is an exquisite parable of one man's fall from respectability, and the film that catapulted Marlene Dietrich to international stardom. Emil Jannings (The Last Laugh) stars as Professor Rath, the sexually repressed instructor of a boys' prep school. After learning of the pupils' infatuation with a local nightclub songstress, he decides to personally investigate the matter. But as soon as he enters the shadowy Blue Angel nightclub and steals one glimpse of the smoldering Lola-Lola (Dietrich), Rath is fatefully seduced by the throaty voice of the vulgar siren. Special Features: The original German-language version with optional English subtitles, newly restored in HD from archival 35mm elements by the Friedrich-Wilhelm-Murnau-Stiftung The English-language version, on Blu-ray for the first time Scene comparison of the two versions Marlene Dietrich's Blue Angel screen test Dietrich interview footage Der blaue Engel (DVD video, 2001) [WorldCat.org] Find more libraries Librarian?

Claim your library to Der blaue Engel [Place of publication not identified] : Eureka Video, ©2001. Edition/Format: DVD video : PAL color broadcast system : German : Special ed View all editions and formats Database: WorldCat Summary: This story of the grim, ritualistic decline and fall of a respectable college professor at the hands of a scheming vamp is one of the most horrific studies of calculated human degradation ever portrayed on film. The movie catapulted Marlene Dietrich to overnight international stardom from the moment she low-moaned the now immortal song "Falling in love again". The film was shot simultaneously in German and English for the international market. Read more... Rating: You are connected to the University of Washington Libraries network Hide local services for this item OCLC FirstSearch Add library to Favorites Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours. Allow this favorite library to be seen by others Keep this favorite library private Find a copy in the library Finding libraries that hold this item... Details Visual material All Authors / Contributors: German dialogue with English subtitles. Notes: DVD video release of the film produced in 1930.

Dolby Digital Mono. Aspect ratio 4:3, 1.33:1. DVD contains 2 versions of the film, produced simultaneously in 1930: one with German dialogue and English subtitles, the other with English dialogue. Credits: Credits: Music, Friedrich HollaÌnder ; cinematography, GuÌnther Rittau ; editor (German lang. version), S.K. Winston ; editor (English lang. version), Walter Klee ; art direction, Otto Hunte ; song lyrics (English lang. version), Sam Lerner. Performer(s): Cast: Emil Jannings, Marlene Dietrich, Kurt Gerron, Rosa Valetti, Hans Albers, Eduard von Winterstein, Reinhold Bernt, Hans Roth, Rolf Müller, Robert Klein-Lork, Karl Huszar-Puffy, Wilhelm Diegelmann, Gerhard Bienert, Ilse Fürstenberg, the Weintraub Syncopators. Target Audience: 1 videodisc (106 + 94 min.) : sound, black and white ; 4 3/4 in.

Details: "Der blaue Engel" (German language with English subtitles, 106 mins.).-- "The blue angel" (English language version, 94 mins.). Other Titles: Blue Angel Responsibility: screenplay by Carl Zuckmayer, Karl Vollmöller, Heinrich Mann, Robert Liebmann ; based on the novel "Professor Unrat" by Heinrich Mann ; produced by Erich Pommer ; directed by Josef von Sternberg. Abstract: This story of the grim, ritualistic decline and fall of a respectable college professor at the hands of a scheming vamp is one of the most horrific studies of calculated human degradation ever portrayed on film. The movie catapulted Marlene Dietrich to overnight international stardom from the moment she low-moaned the now immortal song "Falling in love again". The film was shot simultaneously in German and English for the international market. Reviews Add a review and share your thoughts with other readers. Be the first. Add a review and share your thoughts with other readers. Be the first. Tags Add tags for "Der blaue Engel". Be the first.

Similar Items The Blue Angel (Deluxe Blu-ray) (Blu-ray) - Kino Lorber Home Video The Blue Angel (Deluxe Blu-ray) (Blu-ray) $27.47 (31% off) Buy Blu-ray Only ships to US & Canada The Blue Angel (Deluxe Blu-ray) (Blu-ray) Cast Directed by Josef von Sternberg The crowning achievement of the Weimar cinema, THE BLUE ANGEL is an exquisite parable of one man's fall from respectability, and the film that catapulted Marlene Dietrich to international stardom. It is presented here in both the restored German version and the English-language version (shot simultaneously). Emil Jannings (The Last Laugh) stars as Professor Rath, the sexually repressed instructor of a boys' prep school. After learning of the pupils' infatuation with a local nightclub songstress, he decides to personally investigate the matter. But as soon as he enters the shadowy Blue Angel nightclub and steals one glimpse of the smoldering Lola-Lola (Dietrich), Rath is fatefully seduced by the throaty voice of the vulgar siren. Country:German Runtime: 107 Min.

(German) / 104 Min. (English) Aspect Ratio: 1.19:1 1920x1080p UPC #: 738329122225 Blu-ray Extras Include: The original German-language version with optional English subtitles, newly restored in HD from archival 35mm elements by the Friedrich-Wilhelm-Murnau-Stiftung * The English-language version, on Blu-ray for the first time * Scene comparison of the two versions * Marlene Dietrich's Blue Angel screen test * Dietrich interview footage * Two trailers * Image gallery To read more about Kino Lorber Edu's terms of use and ordering information, visit Kino Lorber Edu . Related Products Director : Josef von Sternberg Country: Germany The crowning achievement of the Weimar cinema, The Blue Angel is an exquisite parable of one man's fall from respectability. More Directors : Josef von Sternberg, Josef von Sternberg Country: Germany, Germany The crowning achievement of the Weimar cinema, The Blue Angel is an exquisite parable of one man's fall from respectability.

More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky Country: Germany, Germany, Russia Moscow 1955. Stalin has been dead two years, but not even Khrushchev's thaw can prevent Komsomol shock troops from hounding hipsters (stilyagi), fans of American jazz, culture and fashion. A lush... More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid Country: Germany, Germany, Russia, Belgium, France, Tunisia As I Open My Eyes gives us a look at Tunisian youth on the eve of the Jasmine Revolution as they are pulled in all directions by conflicting forces: disenchantment, fear, creativity, rebellion agains... More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret Country: Germany, Germany, Russia, Belgium, France, Tunisia, France Co-starring with Jean Gabin, Baker plays a talented Cinderella who takes the place of the lead on opening night of a musical review. With five great musical numbers including "Haiti".

More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone, Serge Bozon Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France An intoxicating blend of wartime romance and brightly colored musical, the film depicts an original world "where Bresson meets the Beatles" (Variety). More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone, Serge Bozon, Jean Negulesco Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France, U.S. Follows a young French girl (Leslie Caron, An Americanin Paris) through college, as her education sponsoredby a mysterious millionaire with long legs. This thriceOscar® nominated cinemascope...

More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone, Serge Bozon, Jean Negulesco, Denis Heroux Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France, U.S., U.S. Kino's presentation of AFT's Jacques Brel is Alive and Well and Living in Paris is proof of this celebrated modern troubadour's timeless relevance and enduring passion. More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone, Serge Bozon, Jean Negulesco, Denis Heroux, Denis Heroux Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France, U.S., U.S., U.S. Kino's presentation of AFT's Jacques Brel is Alive and Well and Living in Paris is proof of this celebrated modern troubadour's timeless relevance and enduring passion.

More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone, Serge Bozon, Jean Negulesco, Denis Heroux, Denis Heroux, Denis Heroux Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France, U.S., U.S., U.S., U.S. Kino's presentation of AFT's Jacques Brel is Alive and Well and Living in Paris is proof of this celebrated modern troubadour's timeless relevance and enduring passion. More Directors : Josef von Sternberg, Josef von Sternberg, Valery Todorovsky, Leyla Bouzid, Marc Allegret, Alberto Cavallone, Serge Bozon, Jean Negulesco, Denis Heroux, Denis Heroux, Denis Heroux, Rajiv Menon Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France, U.S., U.S., U.S., U.S., India A Bollywood retelling of Jane Austen's Sense and Sensibility.

More Winter Evening in Gagry Country: Germany, Germany, Russia, Belgium, France, Tunisia, France, Italy, France, U.S., U.S., U.S., U.S., India, Russia A down on his luck dance coach is unexpectedly given a second chance on life after he is falsely pronounced dead by a local news program. Voted "Best Musical of 1985" by readers of Soviet Screen... More Join the conversation @KinoLorber on Jan. 19 2017 at 3:46pm Simon Stone’s THE DAUGHTER opens Jan 27 at @Cinema_Village , after receiving 10 Film Critics Circle of Australia nom… @KinoLorber on Jan. 19 2017 at 11:22am “Oscar-worthy” & “gorgeously composed” (Detroit Press) Fire at Sea starts tomorrow @DIADetroit in #Detroit Tickets: @KinoLorber on Jan. 17 2017 at 3:30pm Congratulations Isabelle Huppert for receiving the @uniFrance's French Cinema Award! @KinoLorber on Jan.

16 2017 at 9:28pm RT @MarkHallFilm : @laeater reports on mislabeled fish for sushi 🍣 In L.A! Time to rewatch SUSHI: THE GLOBAL CATCH @amazon @iTunes @KinoLorb… @KinoLorber on Jan. 16 2017 at 4:04pm KING: A FILMED RECORD...MONTGOMERY TO MEMPHIS is a monumental documentary that follows Dr. King from 1955 to 1968.… @KinoLorber on Jan. 16 2017 at 3:28pm A @NewYorker story on Csanád Szegedi, the Hungarian politician who’s the focus of KEEP QUIET, opening Feb 17 in #NYC @KinoLorber on Jan. 16 2017 at 1:09pm RT @alamogreaterny : Happy MLK Day!

At 7pm, we screen 3 films from @KinoLorber's Pioneers of African American Cinema to benefit @ACLU https… @KinoLorber on Jan. 13 2017 at 9:33pm We couldn't be prouder: NEON BULL @boi_neon by Gabriel Mascaro has won the @CinemaTropical award for Best Latin American Film of the Year. @KinoLorber on Jan. 12 2017 at 7:54pm Come see the film @indiewire called "The First Satisfying Movie of 2017." THE SON OF JOSEPH premieres this Friday a… @KinoLorber on Jan.

12 2017 at 3:05pm Congratulations to @keithmaitland and team for winning the @cinemaeyehonors award for Outstanding Achievement in An… Falling in love again and again: Marlene Dietrich and the iconization of non‐native English | DeepDyve Try 2 weeks free now Falling in love again and again: Marlene Dietrich and the iconization of non‐native English Bell, Allan Icons are those stars who have become widely established and circulated as enduring international cult figures. Numbered among these is Marlene Dietrich, one of a class of international performers who present in English although not native speakers. Her performances can be theorized as Referee Design, by which speakers target linguistic codes other than their own. Dietrich came to stardom in the 1930 German‐made film, The Blue Angel, which provided her career‐long signature tune, ‘Falling in love again’. Analysis of her pronunciation shows her English as markedly non‐native. Her subsequent Hollywood films crafted Dietrich's image, enregistering her non‐native accent and baritone quality as the first and lasting voice of the femme fatale.

For three decades from the 1940s Dietrich toured a live show renowned for her stunning costumes. Comparison of a 1964 stage performance of ‘Falling in love again’ reveals her English as much more native but still retaining a hearably different accent, which is now valorized as her distinctive voice. Dietrich's decades of repeated performances established her iconicity, and her appearance and vocal style – both its timbre and pronunciation – were widely circulated, referenced, imitated, and occasionally parodied. Living the femme fatale persona in her own life, and cultivating her image with extreme reflexivity, Marlene Dietrich achieved the ultimate ingroup identification. In language and appearance, she became her own referee. Ikonen sind jene Stars, die sich als bleibende internationale Kultfiguren etabliert haben. Zu diesen zählt Marlene Dietrich, eine derjenigen internationalen Darsteller, die in englischer Sprache auftreten, obgleich es nicht ihre Muttersprache ist. Ihre Darbietungen können als ,Referee Design‘ bezeichnet werden, wobei sich Sprecher eines Codes bedienen, der nicht ihr Eigener ist.

Dietrich wurde durch den 1930 produzierten Film Der Blaue Engel zum Star. Diesem entstammt auch der Titel ,Ich bin von Kopf bis Fuß‘, welcher zu ihrem Markenzeichen wurde. Die Analyse ihrer Englischaussprache weist sie zu dieser Zeit als Nicht‐Muttersprachlerin aus. Ihre späteren Hollywoodfilme festigten Dietrichs Image. Ihre einzigartige Aussprache und baritonartige Sprechweise wurden zum Sinnbild der .Femme Fatale‘. Ab den 40er Jahren trat Dietrich drei Jahrzehnte lang in einer für ihre atemberaubenden Kostüme bekannten Bühnenaufführung auf. Ein Vergleich mit einer Aufführung von ,Ich bin von Kopf bis Fuß‘ aus dem Jahre 1964 zeigt, dass ihre englische Aussprache seither muttersprachlicher geworden ist, aber noch immer einen hörbaren Akzent aufweist, der bereits als ihr Erkennungsmerkmal betrachtet wird.

Durch jahrzehntelang wiederholte Aufführungen hat sich Dietrich als Ikone durchgesetzt. Ihr Aussehen und ihre Sprechweise – Klangfarbe sowie Aussprache – waren weit verbreitet und wurden ein Vielfaches nachgeahmt und manchmal sogar parodiert. Dietrich hat die Femme Fatale auch im Privaten gelebt, ihr Image mit höchster Selbstreflexion kultiviert und erreichte dadurch die Spitze der Ingroup‐Identifikation: in Sprache und Aussehen wurde sie ihr eigener ,Referee’. (German) Journal of Sociolinguistics Wiley Journal of Sociolinguistics 15/5, 2011: 627–656 Falling in love again and again: Marlene Dietrich and Radio New Zealand : National : Programmes : Wayne's Music Radio New Zealand Next Episode: Saturday, 30 November 2013 Wayne’s Music 23/24 November 2013. Hits of the 30s.

‘And The Angels Sing’ Anne Lenner, her real name was Violet Green, one of six sisters, Florence, Maidie, Ida, Rosa, and Ivy – all of whom followed their Father into showbusiness … ‘Flat Foot Floogie With The Floy Floy’ Nat Gonella and His Georgians – he was a major influence on the British jazz scene from the 1930’s until the 70s, ‘The Greatest Mistake Of My Life’ Jimmy Messene on guitar and vocals with Harold Hood on Joanna and Pat Smuts on alto sax. ‘Easy To Love’ Billie Holiday with the Teddy Wilson band in 1936 – a great Col Porter number. ‘La Cucaracha’ Harry Roy’s Orchestra with a traditional Spanish Corrido that came out of the Mexican Revolution early in the 20th century. ‘Stars Fell On Alabama’ Jack Teagarden with my favourite version of the song that tells of the night of the Leonid Meteor Shower when thousands of luminous bodies shot across the firmament in every direction in Alabama in November of 1833.

‘Don’t Blame Me’ Hutch As one of the biggest stars in Britain during the 1920s and 1930s, Hutch lived the life of an upper-crust aristocrat - ‘The Sun has Got His Hat On’ Ambrose orchestra with Sam Browne with the song from the Musical Me and My Girl. ‘When I Take My Sugar To tea’ The Boswell Sisters with their definitive version of a 1931 song – they’re singing with the Dorsey Brothers. ‘When You’re Smiling’ Louis Armstrong … ‘What Do You Know About Love’ Al Bowlly with Reginald Williams and his Futurists ‘Nice Work If You Can It’ Fred Astaire sings Gershwin with Ray Nobles’ orchestra. ‘Where Is The Sun’ Valaida Snow – the Queen of trumpet and song. ‘When I’m Cleaning Windows’ George Formby with the first of his window cleaning songs – he never did work as a window cleaner.

‘I’m Gonna Sit Right Down And Write Myself A letter’ fats Waller with one of the standards from the Great American Songbook … ‘Let’s Fall In Love’ Arthur Tracy accompanying himself on the piano accordion ‘Dream A Little Dream Of me’ Ozzie Nelson From 1930 through the 1940s, his band recorded prolifically - Nelson's records were consistently popular… he was the primary vocalist and (from August 1932) featured in duets with his other star vocalist, Harriet Hilliard. (whom he married in 1935. Wayne’s Music Sunday 24 November 2013. The 1930s. PART ONE. ‘Indian Summer’ Ginny Simms - introduced by kay Kyser when she was working with his band – before going on to make a dozen or so movies. ‘The Dispsy Doodle’ Nat Gonella and His Georgians with the vocal group The Jackdaws … ‘Broken Hearted Clown’ Harry Roy sings with his own band … resident at The Mayfair Hotel in London from 1934 until 1936 – then he took his band on tour around the world.

‘There Isn’t Any Limit To My love’ Anne Lenner working with Carroll Gibbons and The Savoy Hotel orpheans. ‘My very Good Friend The Mikman’ fats Waller PART TWO ‘The very Thought Of You’ Al Bowlly –with one of the very best songs of 1934 and one of the finest ever produced by the Sussex-born bandleader, composer and publisher Ray Noble. ‘Lazy Bones’ The Mills Brothers with a Tin Pan Alley classic written by Johnny Mercer and Hoagy Carmichael … ‘It Don’t Mean A Thing’ Duke Ellington with Ivie Anderson – a landmark recording with the Cotton Club star vocalist in 1932. ‘Lady Of Spain’ Tino Folgar the Barcelona-born ‘zarzuela and Opera tenor was having a guest season at Covent Garden in London when he recorded this in 1931. ‘Exactly Like You’ Elsie Carlisle – ‘My Melancholy Baby’ Bing Crosby – one of the most recognized and successful singers of the 30s was Harry Lillis Crosby – one of the best selling recording artists of the 20th century – a leader in radio ratings and movie grosses.

‘The Donkey Serenade’ Gracie Fields – the biggest of names in British show business in the 30s and her films, were box-office hits. ‘Slap That bass’ The Ink Spots were jiving their way through the 30s – their immense popularity still to come in the 40s. ‘The Glory Of Love’ Hildegarde with Carroll Gibbons and His Boy Friends ‘Anything Goes’ Jeanne Aubert and The Four Admirals – the French cabaret star sings the title song from Cole Porter’s British Premier of the Musical in 1935 … ‘I’ll String Along With You’ Dick Powell with one of the hit songs from Twenty Million Sweethearts, the 1934 Film with Ginger Rogers, Pat O’Brien, The Mills Brothers and Ted Fio Rito’s orchestra.

‘It’s The Talk Of The Town’ Connee Boswell about the time she started doing solo work following a break from her sisters Martha and Vet … ‘When We’re Alone’ Al Bowlly, the South African crooner/guitarist out front of the Roy Fox Band in 32 … ‘I Don’t Know Why- I Just Do’ A piano/vocals duet with heavy classical influence, Layton & Johnstone were staid but solid interpreters of American popular song during the '20s and early '30s. ‘Falling In Love Again’ Marlene Dietrich growling and pouting her way through the theme song she introduced in the 1930 film which instantly catapulted her to international stardom – Von Stemberg’s “Blue Angel”. ‘At The Woodchoppers Ball’ Woody Herman with what was to become his obsessive theme tune.

Question: Which 1930 film instantly catapulted Marlene Dietrich to international stardom?
Answer: The BLUE ANGEL