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Dishonored (1931)

Passed | | Drama, Romance, War | 4 April 1931 (USA)
The Austrian Secret Service sends its most seductive agent to spy on the Russians.

Writers:

(screenplay) (as Daniel N. Rubin), (screenplay) | 1 more credit »
Reviews
1 win. See more awards »
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Cast

Complete credited cast:
...
Marie Kolverer / X27
...
Colonel Kranau
...
Austrian Secret Service Chief
...
Colonel von Hindau
...
Colonel Kovrin
...
Young Lieutenant - Firing Squad
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Storyline

The Austrian Secret Service sends its most seductive agent to spy on the Russians.

Plot Summary | Add Synopsis

Taglines:

Can a Woman Kill a Man With Who She Has Known a Night of Love ?

Genres:

Drama | Romance | War

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

4 April 1931 (USA)  »

Also Known As:

Madame Nobody  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.20 : 1
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Did You Know?

Trivia

One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. It was first telecast in Seattle Wednesday 17 June 1959 on KIRO, in Minneapolis 28 August 1959 on WTCN (Channel 11), in Philadelphia 16 November 1959 on WCAU (Channel 10), and in Los Angeles 8 January 1960 on KNXT (Channel 2). It was released on DVD 6 February 2012 in tandem with Shanghai Express (1932) by Turner Classic Movies and Universal Studios Home Entertainment, and has also enjoyed an occasional airing on cable TV on TCM. See more »

Connections

Featured in Paramount Presents (1974) See more »

Soundtracks

Sonata No.14 in C Sharp Minor, Op.27 No.2 'Moonlight'
Written by Ludwig van Beethoven
Played on piano by Marlene Dietrich
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User Reviews

 
Under-rated von Sternberg
25 December 2005 | by (United States) – See all my reviews

Having just viewed this movie for the first time, I must say that from what I've seen written about Dishonored it seems somewhat unappreciated. While perhaps not a masterpiece on the level of other von Sternberg/Dietrich pairings, such as the two greats The Blue Angel and Blonde Venus, like them both it oozes with the unmistakable marks of its director: the stark dialogue, the lavish attention to atmosphere (such as all the wonderful interiors), and a pervading sense of marvelous oddness. Von Sternberg shows us that the real triumph of his cinema is not one of the reality it affords, but one of style, of which Dishonored has enough to spare.


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