Amazon.com essential video

Peter Lorre made film history with his startling performance as a psychotic murderer of children. Too elusive for the Berlin police, the killer is sought and marked by underworld criminals who are feeling the official fallout for his crimes. This riveting, 1931 German drama by Fritz Lang--an early talkie--unfolds against a breathtakingly expressionistic backdrop of shadows and clutter, an atmosphere of predestination that seems to be closing in on Lorre's terrified villain. M is an important piece of cinema's past along with a number of Lang's early German works, including Metropolis and Spies. (Lang eventually brought his influence directly to the American cinema in such films as Fury, They Clash by Night, and The Big Heat.) M shouldn't be missed. This original 111-minute version is a little different from what most people have seen in theaters. --Tom Keogh ... Read more

Reviews (67)

Did Alfred Hitchcock have a mentor?
If he did it could have been Fritz Lang & his seminal talkie, M, made in 1931 & released in 1933. A deranged child murderer is loose in the city (played broadly & wonderfully by "newcomer," Peter Lorre).
The movie has scenes pitting citizen v. citizen, in accusations & counter accusations, near lynchings & mob hysteria. The police seem helpless & bereft of clues. Organized crimes seeks to find the murderer also. He's bad for business.
Crowd mentality is examined. It is a theme Lang returns to in later movies. His first American movie, Fury , (1936) deals with vigilantism & mob rule. This version, a poor print by the way, has English subtitles so your forced to pay attention. It was Lang's favorite film. It is a prototype, if you will, of the murder mystery genre. Kind of a precursor to Hitchcock's thrillers of the 40's & 50's.

dark; influencial; a classic
This early serial killer movie from Fritz Lang has influenced practically every other serial killer film ever made. Peter Lorre is the bug-eyed, pathetic and vaguely sympathetic child-murderer (the 'vampire of Dusseldorf') being captured and put on trial by the rough inhabitants of the town. Although this very early talkie is far slower paced then the equivalent films of today, it is intelligent and, in its day, seminal.

The transfer to DVD is excellent considering the film's age, definitely superior to the crackly version I used to own on VHS.

This serial killer film is artistic and influencial, although I preferred Fritz Lang's earlier classic sci-fi Metropolis.

Murderous Molester Meets Mob Mentality...
While watching this story unfold, I found myself on quite a rollercoaster ride of emotion. First, I hated Beckert (Peter Lorre's character) for luring innocent little girls to their hideous deaths. Beckert is scary due to his ordinariness, his gentle face and small stature. He's the opposite of what we tend to expect (even today) a child molester / killer to look like. I really wanted this guy caught! I cheered for the cops to nail this maniac at all cost. Then, I wanted the underworld types to nab him and dole out their version of justice (regardless of their selfish, criminal motives). The scenes of the crooks surrounding / hunting Beckert in a deserted office building are paranoic and intensely claustrophobic. I could feel the terror in Beckert's head. No longer the predator, he was now the prey. Once caught, he is taken to a deserted brewery and put on "trial" by the crime bosses. Beckert must plead for his life before a mob that's not all that interested in his side of the story. He delivers one of the most desperate pleas for mercy in movie history to an audience concerned only with his destruction. Just as the mob leaps at him to tear him apart, the cops arrive, becoming Beckert's (temporary) salvation. In the end, we are left with the words of one of the victims' mother. She sadly states that while Beckert may die for his crimes, this will not bring her baby back to her. Such is the great paradox of justice. Fritz Lang gives us quite a lot to think about in this legendary tale. Buy it and see what I mean...

Film as Allegory
"M", Fritz Lang's ingenious story of the hunt for a child molester, is a remarkable snapshot of civilized German society at the moment predating its collapse. The child murderer Beckert (who would later be used in Nazi propaganda films as a prototype of Jewish/sexual deviance) is presented as an enemy of motherhood and the people, and therefore all of Germany. The authorities are hapless in their investigation, causing a gathering of vigilante forces - crooks, killers, pimps, and prostitutes - who capture Beckert, and try to bring him to justic before being stopped by police. Lang's working of cinematography provokes a sense of outrage at police attempts to enforce law: there are prosecutors, defense attorneys and judges in the underground kangaroo court of the criminals, but no jury -the audience is intended to be. With lawlessness everywhere, 1931 Berlin crowds cheered approvingly of the near assasination of Beckert by the underground. The austere judges of the actual law who sentence Beckert (likely to an asylum from which he will eventually be released) are shown as overlords on high, unresponsive to the three mothers of murdered children who weep and warn, "We must all take better care of our children." Whether Lang intended it or not, taking better care of the children seemed a system entirely unlike the Weimar Republic - what would eventually become Nazism. Lang was no Facist, but this is one of the classic films heralding is birth.

an excellent film, poor print. wait until late 2004 to buy
This review is for the Criterion Collection (1st edition) of the film.

This movie is Fritz Lang's first "talkie" and an excellent film about a serial child murderer. The police are so obsessed with catching him and are everywhere. This prevents the other criminals like pickpocketers and burgalrs from doing their criminal activity so they team up and enlist the help of beggars and the "underworld" to find and apprehend the murderer.

This Criterion DVD, now temoraraily out of print, has bad picture quality but still is a good film.

Later this year the DVD will be rereleased with far better picture quality and special features which this version does not have. This edition has no special features of any kind. I will put up a new review when the new version is released. ... Read more

Reviews (1)

Fast-pacing, sinister Great-One by Fritz Lang
Great about this video is that it actually uses the original music score which adds a lot to the pictures. See harakiri-, motorbiking- and traincrash-action! Also a nice love-story and a lot of seducing. Enjoy! ... Read more

Reviews (67)

Did Alfred Hitchcock have a mentor?
If he did it could have been Fritz Lang & his seminal talkie, M, made in 1931 & released in 1933. A deranged child murderer is loose in the city (played broadly & wonderfully by "newcomer," Peter Lorre).
The movie has scenes pitting citizen v. citizen, in accusations & counter accusations, near lynchings & mob hysteria. The police seem helpless & bereft of clues. Organized crimes seeks to find the murderer also. He's bad for business.
Crowd mentality is examined. It is a theme Lang returns to in later movies. His first American movie, Fury , (1936) deals with vigilantism & mob rule. This version, a poor print by the way, has English subtitles so your forced to pay attention. It was Lang's favorite film. It is a prototype, if you will, of the murder mystery genre. Kind of a precursor to Hitchcock's thrillers of the 40's & 50's.

dark; influencial; a classic
This early serial killer movie from Fritz Lang has influenced practically every other serial killer film ever made. Peter Lorre is the bug-eyed, pathetic and vaguely sympathetic child-murderer (the 'vampire of Dusseldorf') being captured and put on trial by the rough inhabitants of the town. Although this very early talkie is far slower paced then the equivalent films of today, it is intelligent and, in its day, seminal.

The transfer to DVD is excellent considering the film's age, definitely superior to the crackly version I used to own on VHS.

This serial killer film is artistic and influencial, although I preferred Fritz Lang's earlier classic sci-fi Metropolis.

Murderous Molester Meets Mob Mentality...
While watching this story unfold, I found myself on quite a rollercoaster ride of emotion. First, I hated Beckert (Peter Lorre's character) for luring innocent little girls to their hideous deaths. Beckert is scary due to his ordinariness, his gentle face and small stature. He's the opposite of what we tend to expect (even today) a child molester / killer to look like. I really wanted this guy caught! I cheered for the cops to nail this maniac at all cost. Then, I wanted the underworld types to nab him and dole out their version of justice (regardless of their selfish, criminal motives). The scenes of the crooks surrounding / hunting Beckert in a deserted office building are paranoic and intensely claustrophobic. I could feel the terror in Beckert's head. No longer the predator, he was now the prey. Once caught, he is taken to a deserted brewery and put on "trial" by the crime bosses. Beckert must plead for his life before a mob that's not all that interested in his side of the story. He delivers one of the most desperate pleas for mercy in movie history to an audience concerned only with his destruction. Just as the mob leaps at him to tear him apart, the cops arrive, becoming Beckert's (temporary) salvation. In the end, we are left with the words of one of the victims' mother. She sadly states that while Beckert may die for his crimes, this will not bring her baby back to her. Such is the great paradox of justice. Fritz Lang gives us quite a lot to think about in this legendary tale. Buy it and see what I mean...

Film as Allegory
"M", Fritz Lang's ingenious story of the hunt for a child molester, is a remarkable snapshot of civilized German society at the moment predating its collapse. The child murderer Beckert (who would later be used in Nazi propaganda films as a prototype of Jewish/sexual deviance) is presented as an enemy of motherhood and the people, and therefore all of Germany. The authorities are hapless in their investigation, causing a gathering of vigilante forces - crooks, killers, pimps, and prostitutes - who capture Beckert, and try to bring him to justic before being stopped by police. Lang's working of cinematography provokes a sense of outrage at police attempts to enforce law: there are prosecutors, defense attorneys and judges in the underground kangaroo court of the criminals, but no jury -the audience is intended to be. With lawlessness everywhere, 1931 Berlin crowds cheered approvingly of the near assasination of Beckert by the underground. The austere judges of the actual law who sentence Beckert (likely to an asylum from which he will eventually be released) are shown as overlords on high, unresponsive to the three mothers of murdered children who weep and warn, "We must all take better care of our children." Whether Lang intended it or not, taking better care of the children seemed a system entirely unlike the Weimar Republic - what would eventually become Nazism. Lang was no Facist, but this is one of the classic films heralding is birth.

an excellent film, poor print. wait until late 2004 to buy
This review is for the Criterion Collection (1st edition) of the film.

This movie is Fritz Lang's first "talkie" and an excellent film about a serial child murderer. The police are so obsessed with catching him and are everywhere. This prevents the other criminals like pickpocketers and burgalrs from doing their criminal activity so they team up and enlist the help of beggars and the "underworld" to find and apprehend the murderer.

This Criterion DVD, now temoraraily out of print, has bad picture quality but still is a good film.

Later this year the DVD will be rereleased with far better picture quality and special features which this version does not have. This edition has no special features of any kind. I will put up a new review when the new version is released. ... Read more

Reviews (67)

Did Alfred Hitchcock have a mentor?
If he did it could have been Fritz Lang & his seminal talkie, M, made in 1931 & released in 1933. A deranged child murderer is loose in the city (played broadly & wonderfully by "newcomer," Peter Lorre).
The movie has scenes pitting citizen v. citizen, in accusations & counter accusations, near lynchings & mob hysteria. The police seem helpless & bereft of clues. Organized crimes seeks to find the murderer also. He's bad for business.
Crowd mentality is examined. It is a theme Lang returns to in later movies. His first American movie, Fury , (1936) deals with vigilantism & mob rule. This version, a poor print by the way, has English subtitles so your forced to pay attention. It was Lang's favorite film. It is a prototype, if you will, of the murder mystery genre. Kind of a precursor to Hitchcock's thrillers of the 40's & 50's.

dark; influencial; a classic
This early serial killer movie from Fritz Lang has influenced practically every other serial killer film ever made. Peter Lorre is the bug-eyed, pathetic and vaguely sympathetic child-murderer (the 'vampire of Dusseldorf') being captured and put on trial by the rough inhabitants of the town. Although this very early talkie is far slower paced then the equivalent films of today, it is intelligent and, in its day, seminal.

The transfer to DVD is excellent considering the film's age, definitely superior to the crackly version I used to own on VHS.

This serial killer film is artistic and influencial, although I preferred Fritz Lang's earlier classic sci-fi Metropolis.

Murderous Molester Meets Mob Mentality...
While watching this story unfold, I found myself on quite a rollercoaster ride of emotion. First, I hated Beckert (Peter Lorre's character) for luring innocent little girls to their hideous deaths. Beckert is scary due to his ordinariness, his gentle face and small stature. He's the opposite of what we tend to expect (even today) a child molester / killer to look like. I really wanted this guy caught! I cheered for the cops to nail this maniac at all cost. Then, I wanted the underworld types to nab him and dole out their version of justice (regardless of their selfish, criminal motives). The scenes of the crooks surrounding / hunting Beckert in a deserted office building are paranoic and intensely claustrophobic. I could feel the terror in Beckert's head. No longer the predator, he was now the prey. Once caught, he is taken to a deserted brewery and put on "trial" by the crime bosses. Beckert must plead for his life before a mob that's not all that interested in his side of the story. He delivers one of the most desperate pleas for mercy in movie history to an audience concerned only with his destruction. Just as the mob leaps at him to tear him apart, the cops arrive, becoming Beckert's (temporary) salvation. In the end, we are left with the words of one of the victims' mother. She sadly states that while Beckert may die for his crimes, this will not bring her baby back to her. Such is the great paradox of justice. Fritz Lang gives us quite a lot to think about in this legendary tale. Buy it and see what I mean...

Film as Allegory
"M", Fritz Lang's ingenious story of the hunt for a child molester, is a remarkable snapshot of civilized German society at the moment predating its collapse. The child murderer Beckert (who would later be used in Nazi propaganda films as a prototype of Jewish/sexual deviance) is presented as an enemy of motherhood and the people, and therefore all of Germany. The authorities are hapless in their investigation, causing a gathering of vigilante forces - crooks, killers, pimps, and prostitutes - who capture Beckert, and try to bring him to justic before being stopped by police. Lang's working of cinematography provokes a sense of outrage at police attempts to enforce law: there are prosecutors, defense attorneys and judges in the underground kangaroo court of the criminals, but no jury -the audience is intended to be. With lawlessness everywhere, 1931 Berlin crowds cheered approvingly of the near assasination of Beckert by the underground. The austere judges of the actual law who sentence Beckert (likely to an asylum from which he will eventually be released) are shown as overlords on high, unresponsive to the three mothers of murdered children who weep and warn, "We must all take better care of our children." Whether Lang intended it or not, taking better care of the children seemed a system entirely unlike the Weimar Republic - what would eventually become Nazism. Lang was no Facist, but this is one of the classic films heralding is birth.

an excellent film, poor print. wait until late 2004 to buy
This review is for the Criterion Collection (1st edition) of the film.

This movie is Fritz Lang's first "talkie" and an excellent film about a serial child murderer. The police are so obsessed with catching him and are everywhere. This prevents the other criminals like pickpocketers and burgalrs from doing their criminal activity so they team up and enlist the help of beggars and the "underworld" to find and apprehend the murderer.

This Criterion DVD, now temoraraily out of print, has bad picture quality but still is a good film.

Later this year the DVD will be rereleased with far better picture quality and special features which this version does not have. This edition has no special features of any kind. I will put up a new review when the new version is released. ... Read more

Description

The crowning achievement of the Weimar cinema, The Blue Angel is an exquisite parable of one man's fall from respectability, presented in both the newly-restored German and English-language versions.
Emil Jannings, the quintessential German expressionist actor, stars as Professor Rath, the sexually-repressed instructor of a boys' prep school. After learning of the pupils' infatuation with French postcards depicting a local nightclub songstress, he decides to personally investigate the source of such indecency. But as soon as he enters the shadowy Blue Angel nightclub and steals one glimpse of the smoldering Lola-Lola (Marlene Dietrich), commanding the stage in a top hat, stockings and bare thighs, Rath's self-righteous piety is crushed. He finds himself fatefully seduced by the throaty voice of the vulgar siren, singing, "Falling in Love Again." Consumed by desire and tormented by his rigid propriety, Professor Rath allows himself to be dragged down a path of personal degradation. Lola's unrestrained sexuality was a revelation to turn-of-the-decade moviegoers, thrusting Dietrich to the forefront of the sultry international leading ladies, such as Greta Garbor, who were challenging the limits of screen sexuality. ... Read more

Reviews (27)

Kino's 2-disc DVD version
Relative newcomer Marlene Dietrich's electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her screen presence also more than overcomes Josef von Sternberg's rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic status.

Kino's region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions look very clean for a 71-year-old film, although just a tad less sharp than I would have liked. The English version looks a bit cleaner still. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The black bars, of course, cover up part of the picture. I would suggest Kino use white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to reveal her bare back side to her nightclub audience). The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich's role is all English-speaking, while the other actors speak a combination of both languages -- English for important dialogs, German for less important ones.

The included audio commentary on the German disc is a mild disappointment. Although historian Werner Sedendorf's analytical comments are excellent, he just does not speak often enough. Long stretches of silence are frequent. Kino should have thought of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a generous amount of extra material. There is a wonderful biography section that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film's production history. The best extras, unquestionnably, are the 4 film clips of Dietrich's screen test and concert performances. There is a memorable clip of the 1930 screen test of Dietrich singing "You are the Cream in my Coffee." There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of "Falling in Love Again" and "Lola Lola"). There is another TV footage of her singing "You are the Cream in my Coffee" after reminiscing about her 1930 screen test.

The "Stepping Stone" for Marlene Dietrich's World Conquest
Joseph von Sternberg 'packaged' his muse, Marlene Dietrich to become a world star with "The Blue Angel". The disturbing story of a revue entertainer (Dietrich) and the middle aged professor(Emil Jannings)who falls madly in love with, and later is destroyed by her, based on the novel "Professor Unrat". Many unforgettable songs by Friedrich Hollander are featured, most noteworthy of course "Ich bin von Kopf bis Fuss auf Liebe eingestellt" ("Falling in Love Again") and "Ich bin die feche Lola" ("They Call Me Naughty Lola"). -- There is a dub-version available, but I recommend the original German with subtitles. Many effects are lost with the former. I can highly recommend this film, a must for fans of either the stars or the director!*****

Falling Too Hard
This memorable, iconic film stars Marlene Dietrich as the showgirl Lola Lola, Emil Jannings as the Professor, and is directed by Josef von Sternberg. Stodgy, upright Herr Professor enters the cabaret after following some of his pupils, whom he's discovered with postcards of the singer Lola. He is shocked by the degradation of the place, but then catches sight of Lola and finds himself fascinated. In spite of himself, he returns again and again to the nightclub, driven by his feelings for Lola, a mixture of blatant lust and intense curiousity. Through a series of dressing room encounters, the Professor becomes acquainted with Lola, who views him as an amusing distraction, a relic with his gentlemanly ways and old-fashioned manners. The Professor proves useful in his way, serving as a foil between her and unwanted advances from customers and unwelcomed suitors. With the best of intentions the Professor offers Lola his hand in marriage, offering her his protection, and his good name. This is meaningless at the cabaret, no one plays by his rules. The befuddled Professor tries to fit in, but cannot, and in the process loses himself entirely. He can't change himself, just as he can't change Lola ~ to change Lola would be to destroy her, just as the Professor, through the change he endures, destroys himself. There is a sort of backhanded morality here: Lola cannot help for what she is, she is a product of what she has seen in her life, what she has been forced to do in order to survive, just as the Professor can't help for what he is, the product of his own background, mores, and values. He might have survived had he realised that what a person portrays on stage is not necessarily what that person truly must be, once the curtain is wrung down. The film arrives to its inevitable tragic end, climaxing with a scene of devastating humiliation. Many underlying psycho-sexual themes run through this film, the most obvious being repression vs freedom, and at what cost 'liberation' is achieved. To view the film in the context of the era in which it was made ~ a time portending many social and moralistic upheavals ~ makes for some interesting discussion. Marlene Dietrich, in her role, is in turns cold and unbending, charming and vexing, wise and vulnerable, and always, always absolutely luminously beautiful. Jannings is heartbreaking as the Professor. A must-see for anyone interested in cinema.

One of Kino's best packages. A must for Marlene Fans!!!!!!!!
I like most the DVDs that Kino makes but I must say that this is their most impressive package. A two disk set, the features are marvelous, including both versions of the film (which look great)! Marlene Dietrich musical performances, scene comparison, informative commentary, and a not to be missed screen test with Marlene. The film alone is great, but the DVD package makes it outstanding. Its about a professor, Emil Jennings, who is perfectly cast, and his downfall after meeting a nightclub dancer named Lola Lola, played with great charisma by Marlene Dietrich. A must, don't hesitate to but the Kino 2-disk set if your a Dietrich fan!

A classic of world cinema
A German cinema classic from the late Weimar-era, and the film debut of super-sexy Marlene Dietrich, who is stunning in her role as a flirtatious, heartless cabaret singer whose carnal wiles bring an infatuated school teacher to ruin. But then, what is *really* responsible for his downfall? Dietrich as the temptress, his own repressed sexuality and concurrent fetishization of her beauty, or the close-mindedness of the society around them? As with much of the art of this era (in Germany and without), this film depicts the clash of the old world and the new -- the modern, open, crass, liberating and chaotic world of the individual against the older, stable, stifling, communal and "moral" world of the village and church. At any rate, the transformation of actor Emil Jannings from a fusty old humbug into a degraded shell of a man is a dramatic triumph, and the direction, by Josef von Sternberg, is flawless -- filled with darkness, closeness and brooding claustrophia. The new DVD version features both the German and English-language versions (the English version isn't dubbed, it was actually *acted* in English by the same German actors, and has a few interesting differences of moral tone...) and also includes, as an added bonus Marlene Dietrich's first screen test, which is hilarious, and a must-see for her fans. ... Read more

Amazon.com essential video

For director Josef von Sternberg and Marlene Dietrich it all began with The Blue Angel, one of the masterpieces of Germany's Weimar cinema. This landmark film thrust the sultry and unrestrained Dietrich on an unsuspecting international film audience. She plays the prototypical role of Lola, the singer who tempts repressed professor Emil Jannings (the king of expressionist actors) into complete submission night after night at the Blue Angel nightclub. The film perfectly captures the masochism and degradation of the Weimar Republic, just before the rise of Adolf Hitler. And yet the moral confusion exhibited by Jannings is really due to his own torment. Dietrich is merely an instrument of his innermost desires, standing on stage in top hat, stockings, and bare thighs singing "Falling in Love Again." This is the original German version, newly remastered and subtitled. --Bill Desowitz ... Read more

Reviews (27)

Kino's 2-disc DVD version
Relative newcomer Marlene Dietrich's electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her screen presence also more than overcomes Josef von Sternberg's rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic status.

Kino's region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions look very clean for a 71-year-old film, although just a tad less sharp than I would have liked. The English version looks a bit cleaner still. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The black bars, of course, cover up part of the picture. I would suggest Kino use white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to reveal her bare back side to her nightclub audience). The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich's role is all English-speaking, while the other actors speak a combination of both languages -- English for important dialogs, German for less important ones.

The included audio commentary on the German disc is a mild disappointment. Although historian Werner Sedendorf's analytical comments are excellent, he just does not speak often enough. Long stretches of silence are frequent. Kino should have thought of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a generous amount of extra material. There is a wonderful biography section that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film's production history. The best extras, unquestionnably, are the 4 film clips of Dietrich's screen test and concert performances. There is a memorable clip of the 1930 screen test of Dietrich singing "You are the Cream in my Coffee." There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of "Falling in Love Again" and "Lola Lola"). There is another TV footage of her singing "You are the Cream in my Coffee" after reminiscing about her 1930 screen test.

The "Stepping Stone" for Marlene Dietrich's World Conquest
Joseph von Sternberg 'packaged' his muse, Marlene Dietrich to become a world star with "The Blue Angel". The disturbing story of a revue entertainer (Dietrich) and the middle aged professor(Emil Jannings)who falls madly in love with, and later is destroyed by her, based on the novel "Professor Unrat". Many unforgettable songs by Friedrich Hollander are featured, most noteworthy of course "Ich bin von Kopf bis Fuss auf Liebe eingestellt" ("Falling in Love Again") and "Ich bin die feche Lola" ("They Call Me Naughty Lola"). -- There is a dub-version available, but I recommend the original German with subtitles. Many effects are lost with the former. I can highly recommend this film, a must for fans of either the stars or the director!*****

Falling Too Hard
This memorable, iconic film stars Marlene Dietrich as the showgirl Lola Lola, Emil Jannings as the Professor, and is directed by Josef von Sternberg. Stodgy, upright Herr Professor enters the cabaret after following some of his pupils, whom he's discovered with postcards of the singer Lola. He is shocked by the degradation of the place, but then catches sight of Lola and finds himself fascinated. In spite of himself, he returns again and again to the nightclub, driven by his feelings for Lola, a mixture of blatant lust and intense curiousity. Through a series of dressing room encounters, the Professor becomes acquainted with Lola, who views him as an amusing distraction, a relic with his gentlemanly ways and old-fashioned manners. The Professor proves useful in his way, serving as a foil between her and unwanted advances from customers and unwelcomed suitors. With the best of intentions the Professor offers Lola his hand in marriage, offering her his protection, and his good name. This is meaningless at the cabaret, no one plays by his rules. The befuddled Professor tries to fit in, but cannot, and in the process loses himself entirely. He can't change himself, just as he can't change Lola ~ to change Lola would be to destroy her, just as the Professor, through the change he endures, destroys himself. There is a sort of backhanded morality here: Lola cannot help for what she is, she is a product of what she has seen in her life, what she has been forced to do in order to survive, just as the Professor can't help for what he is, the product of his own background, mores, and values. He might have survived had he realised that what a person portrays on stage is not necessarily what that person truly must be, once the curtain is wrung down. The film arrives to its inevitable tragic end, climaxing with a scene of devastating humiliation. Many underlying psycho-sexual themes run through this film, the most obvious being repression vs freedom, and at what cost 'liberation' is achieved. To view the film in the context of the era in which it was made ~ a time portending many social and moralistic upheavals ~ makes for some interesting discussion. Marlene Dietrich, in her role, is in turns cold and unbending, charming and vexing, wise and vulnerable, and always, always absolutely luminously beautiful. Jannings is heartbreaking as the Professor. A must-see for anyone interested in cinema.

One of Kino's best packages. A must for Marlene Fans!!!!!!!!
I like most the DVDs that Kino makes but I must say that this is their most impressive package. A two disk set, the features are marvelous, including both versions of the film (which look great)! Marlene Dietrich musical performances, scene comparison, informative commentary, and a not to be missed screen test with Marlene. The film alone is great, but the DVD package makes it outstanding. Its about a professor, Emil Jennings, who is perfectly cast, and his downfall after meeting a nightclub dancer named Lola Lola, played with great charisma by Marlene Dietrich. A must, don't hesitate to but the Kino 2-disk set if your a Dietrich fan!

A classic of world cinema
A German cinema classic from the late Weimar-era, and the film debut of super-sexy Marlene Dietrich, who is stunning in her role as a flirtatious, heartless cabaret singer whose carnal wiles bring an infatuated school teacher to ruin. But then, what is *really* responsible for his downfall? Dietrich as the temptress, his own repressed sexuality and concurrent fetishization of her beauty, or the close-mindedness of the society around them? As with much of the art of this era (in Germany and without), this film depicts the clash of the old world and the new -- the modern, open, crass, liberating and chaotic world of the individual against the older, stable, stifling, communal and "moral" world of the village and church. At any rate, the transformation of actor Emil Jannings from a fusty old humbug into a degraded shell of a man is a dramatic triumph, and the direction, by Josef von Sternberg, is flawless -- filled with darkness, closeness and brooding claustrophia. The new DVD version features both the German and English-language versions (the English version isn't dubbed, it was actually *acted* in English by the same German actors, and has a few interesting differences of moral tone...) and also includes, as an added bonus Marlene Dietrich's first screen test, which is hilarious, and a must-see for her fans. ... Read more

Reviews (27)

Kino's 2-disc DVD version
Relative newcomer Marlene Dietrich's electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her screen presence also more than overcomes Josef von Sternberg's rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic status.

Kino's region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions look very clean for a 71-year-old film, although just a tad less sharp than I would have liked. The English version looks a bit cleaner still. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The black bars, of course, cover up part of the picture. I would suggest Kino use white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to reveal her bare back side to her nightclub audience). The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich's role is all English-speaking, while the other actors speak a combination of both languages -- English for important dialogs, German for less important ones.

The included audio commentary on the German disc is a mild disappointment. Although historian Werner Sedendorf's analytical comments are excellent, he just does not speak often enough. Long stretches of silence are frequent. Kino should have thought of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a generous amount of extra material. There is a wonderful biography section that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film's production history. The best extras, unquestionnably, are the 4 film clips of Dietrich's screen test and concert performances. There is a memorable clip of the 1930 screen test of Dietrich singing "You are the Cream in my Coffee." There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of "Falling in Love Again" and "Lola Lola"). There is another TV footage of her singing "You are the Cream in my Coffee" after reminiscing about her 1930 screen test.

The "Stepping Stone" for Marlene Dietrich's World Conquest
Joseph von Sternberg 'packaged' his muse, Marlene Dietrich to become a world star with "The Blue Angel". The disturbing story of a revue entertainer (Dietrich) and the middle aged professor(Emil Jannings)who falls madly in love with, and later is destroyed by her, based on the novel "Professor Unrat". Many unforgettable songs by Friedrich Hollander are featured, most noteworthy of course "Ich bin von Kopf bis Fuss auf Liebe eingestellt" ("Falling in Love Again") and "Ich bin die feche Lola" ("They Call Me Naughty Lola"). -- There is a dub-version available, but I recommend the original German with subtitles. Many effects are lost with the former. I can highly recommend this film, a must for fans of either the stars or the director!*****

Falling Too Hard
This memorable, iconic film stars Marlene Dietrich as the showgirl Lola Lola, Emil Jannings as the Professor, and is directed by Josef von Sternberg. Stodgy, upright Herr Professor enters the cabaret after following some of his pupils, whom he's discovered with postcards of the singer Lola. He is shocked by the degradation of the place, but then catches sight of Lola and finds himself fascinated. In spite of himself, he returns again and again to the nightclub, driven by his feelings for Lola, a mixture of blatant lust and intense curiousity. Through a series of dressing room encounters, the Professor becomes acquainted with Lola, who views him as an amusing distraction, a relic with his gentlemanly ways and old-fashioned manners. The Professor proves useful in his way, serving as a foil between her and unwanted advances from customers and unwelcomed suitors. With the best of intentions the Professor offers Lola his hand in marriage, offering her his protection, and his good name. This is meaningless at the cabaret, no one plays by his rules. The befuddled Professor tries to fit in, but cannot, and in the process loses himself entirely. He can't change himself, just as he can't change Lola ~ to change Lola would be to destroy her, just as the Professor, through the change he endures, destroys himself. There is a sort of backhanded morality here: Lola cannot help for what she is, she is a product of what she has seen in her life, what she has been forced to do in order to survive, just as the Professor can't help for what he is, the product of his own background, mores, and values. He might have survived had he realised that what a person portrays on stage is not necessarily what that person truly must be, once the curtain is wrung down. The film arrives to its inevitable tragic end, climaxing with a scene of devastating humiliation. Many underlying psycho-sexual themes run through this film, the most obvious being repression vs freedom, and at what cost 'liberation' is achieved. To view the film in the context of the era in which it was made ~ a time portending many social and moralistic upheavals ~ makes for some interesting discussion. Marlene Dietrich, in her role, is in turns cold and unbending, charming and vexing, wise and vulnerable, and always, always absolutely luminously beautiful. Jannings is heartbreaking as the Professor. A must-see for anyone interested in cinema.

One of Kino's best packages. A must for Marlene Fans!!!!!!!!
I like most the DVDs that Kino makes but I must say that this is their most impressive package. A two disk set, the features are marvelous, including both versions of the film (which look great)! Marlene Dietrich musical performances, scene comparison, informative commentary, and a not to be missed screen test with Marlene. The film alone is great, but the DVD package makes it outstanding. Its about a professor, Emil Jennings, who is perfectly cast, and his downfall after meeting a nightclub dancer named Lola Lola, played with great charisma by Marlene Dietrich. A must, don't hesitate to but the Kino 2-disk set if your a Dietrich fan!

A classic of world cinema
A German cinema classic from the late Weimar-era, and the film debut of super-sexy Marlene Dietrich, who is stunning in her role as a flirtatious, heartless cabaret singer whose carnal wiles bring an infatuated school teacher to ruin. But then, what is *really* responsible for his downfall? Dietrich as the temptress, his own repressed sexuality and concurrent fetishization of her beauty, or the close-mindedness of the society around them? As with much of the art of this era (in Germany and without), this film depicts the clash of the old world and the new -- the modern, open, crass, liberating and chaotic world of the individual against the older, stable, stifling, communal and "moral" world of the village and church. At any rate, the transformation of actor Emil Jannings from a fusty old humbug into a degraded shell of a man is a dramatic triumph, and the direction, by Josef von Sternberg, is flawless -- filled with darkness, closeness and brooding claustrophia. The new DVD version features both the German and English-language versions (the English version isn't dubbed, it was actually *acted* in English by the same German actors, and has a few interesting differences of moral tone...) and also includes, as an added bonus Marlene Dietrich's first screen test, which is hilarious, and a must-see for her fans. ... Read more

Reviews (27)

Kino's 2-disc DVD version
Relative newcomer Marlene Dietrich's electrifying performance in the 1930 sound film THE BLUE ANGEL overshadows the perhaps even greater performance by Emil Jannings as a sexually-repressed professor. Her screen presence also more than overcomes Josef von Sternberg's rather static direction that was typical of early sound films, elevating this romantic melodrama into its classic status.

Kino's region-free DVD contains both the German and the English versions of the film, each on a separate disc. Both versions look very clean for a 71-year-old film, although just a tad less sharp than I would have liked. The English version looks a bit cleaner still. The supplements include a side-by-side comparison of the two versions (with the German version shown on the left), and the English version indeed looks better. The German version is supported by optional, white-on-black-bar English subtitles. The black bars, of course, cover up part of the picture. I would suggest Kino use white, black-bordered lettering for subtitles in the future instead.

The German version runs 102 minutes, and has a few scenes that are not shown in the English version due to censorship (such as the moment when Lola rotates her body to reveal her bare back side to her nightclub audience). The English version runs 100 minutes. Although it was supposedly made for English audiences, only Dietrich's role is all English-speaking, while the other actors speak a combination of both languages -- English for important dialogs, German for less important ones.

The included audio commentary on the German disc is a mild disappointment. Although historian Werner Sedendorf's analytical comments are excellent, he just does not speak often enough. Long stretches of silence are frequent. Kino should have thought of filling the vacancies with additional comments (either by Sedendorf or someone else), especially when a lot of relevant topics are not adequately covered, such as the legendary collaborations between Dietrich and von Sternberg, the details about the censorship practiced on the English version, the period of German Expressionism that inspired directors like von Sternberg, etc.

The DVD does include a generous amount of extra material. There is a wonderful biography section that includes photos and credits of about 30 cast and crew members. There are about 150 photos, some of which are then-and-now comparisons of some of the props and costumes in the movie. There are text screens of the film's production history. The best extras, unquestionnably, are the 4 film clips of Dietrich's screen test and concert performances. There is a memorable clip of the 1930 screen test of Dietrich singing "You are the Cream in my Coffee." There are 2 clips of televised concerts from the 60s and 70s showing Dietrich performing two of the songs in the movie (English renditions of "Falling in Love Again" and "Lola Lola"). There is another TV footage of her singing "You are the Cream in my Coffee" after reminiscing about her 1930 screen test.

The "Stepping Stone" for Marlene Dietrich's World Conquest
Joseph von Sternberg 'packaged' his muse, Marlene Dietrich to become a world star with "The Blue Angel". The disturbing story of a revue entertainer (Dietrich) and the middle aged professor(Emil Jannings)who falls madly in love with, and later is destroyed by her, based on the novel "Professor Unrat". Many unforgettable songs by Friedrich Hollander are featured, most noteworthy of course "Ich bin von Kopf bis Fuss auf Liebe eingestellt" ("Falling in Love Again") and "Ich bin die feche Lola" ("They Call Me Naughty Lola"). -- There is a dub-version available, but I recommend the original German with subtitles. Many effects are lost with the former. I can highly recommend this film, a must for fans of either the stars or the director!*****

Falling Too Hard
This memorable, iconic film stars Marlene Dietrich as the showgirl Lola Lola, Emil Jannings as the Professor, and is directed by Josef von Sternberg. Stodgy, upright Herr Professor enters the cabaret after following some of his pupils, whom he's discovered with postcards of the singer Lola. He is shocked by the degradation of the place, but then catches sight of Lola and finds himself fascinated. In spite of himself, he returns again and again to the nightclub, driven by his feelings for Lola, a mixture of blatant lust and intense curiousity. Through a series of dressing room encounters, the Professor becomes acquainted with Lola, who views him as an amusing distraction, a relic with his gentlemanly ways and old-fashioned manners. The Professor proves useful in his way, serving as a foil between her and unwanted advances from customers and unwelcomed suitors. With the best of intentions the Professor offers Lola his hand in marriage, offering her his protection, and his good name. This is meaningless at the cabaret, no one plays by his rules. The befuddled Professor tries to fit in, but cannot, and in the process loses himself entirely. He can't change himself, just as he can't change Lola ~ to change Lola would be to destroy her, just as the Professor, through the change he endures, destroys himself. There is a sort of backhanded morality here: Lola cannot help for what she is, she is a product of what she has seen in her life, what she has been forced to do in order to survive, just as the Professor can't help for what he is, the product of his own background, mores, and values. He might have survived had he realised that what a person portrays on stage is not necessarily what that person truly must be, once the curtain is wrung down. The film arrives to its inevitable tragic end, climaxing with a scene of devastating humiliation. Many underlying psycho-sexual themes run through this film, the most obvious being repression vs freedom, and at what cost 'liberation' is achieved. To view the film in the context of the era in which it was made ~ a time portending many social and moralistic upheavals ~ makes for some interesting discussion. Marlene Dietrich, in her role, is in turns cold and unbending, charming and vexing, wise and vulnerable, and always, always absolutely luminously beautiful. Jannings is heartbreaking as the Professor. A must-see for anyone interested in cinema.

One of Kino's best packages. A must for Marlene Fans!!!!!!!!
I like most the DVDs that Kino makes but I must say that this is their most impressive package. A two disk set, the features are marvelous, including both versions of the film (which look great)! Marlene Dietrich musical performances, scene comparison, informative commentary, and a not to be missed screen test with Marlene. The film alone is great, but the DVD package makes it outstanding. Its about a professor, Emil Jennings, who is perfectly cast, and his downfall after meeting a nightclub dancer named Lola Lola, played with great charisma by Marlene Dietrich. A must, don't hesitate to but the Kino 2-disk set if your a Dietrich fan!

A classic of world cinema
A German cinema classic from the late Weimar-era, and the film debut of super-sexy Marlene Dietrich, who is stunning in her role as a flirtatious, heartless cabaret singer whose carnal wiles bring an infatuated school teacher to ruin. But then, what is *really* responsible for his downfall? Dietrich as the temptress, his own repressed sexuality and concurrent fetishization of her beauty, or the close-mindedness of the society around them? As with much of the art of this era (in Germany and without), this film depicts the clash of the old world and the new -- the modern, open, crass, liberating and chaotic world of the individual against the older, stable, stifling, communal and "moral" world of the village and church. At any rate, the transformation of actor Emil Jannings from a fusty old humbug into a degraded shell of a man is a dramatic triumph, and the direction, by Josef von Sternberg, is flawless -- filled with darkness, closeness and brooding claustrophia. The new DVD version features both the German and English-language versions (the English version isn't dubbed, it was actually *acted* in English by the same German actors, and has a few interesting differences of moral tone...) and also includes, as an added bonus Marlene Dietrich's first screen test, which is hilarious, and a must-see for her fans. ... Read more