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Blonde Venus (1932)

Passed  -  Drama  -  25 November 1932 (France)
7.3
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Ratings: 7.3/10 from 2,512 users  
Reviews: 41 user | 25 critic

A cabaret singer takes up with a millionaire to pay for her gravely ill husband's operation.

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Title: Blonde Venus (1932)

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Cast

Complete credited cast:
...
Helen Faraday, aka Helen Jones
Herbert Marshall ...
Edward 'Ned' Faraday
...
Nick Townsend
...
Johnny Faraday
Gene Morgan ...
Ben Smith
Rita La Roy ...
Taxi Belle Hooper
Robert Emmett O'Connor ...
Dan O'Connor
...
Detective Wilson
Morgan Wallace ...
Dr. Pierce
Rest of cast listed alphabetically:
...
Charlie, the Bartender (unconfirmed)
Edit

Storyline

American chemist Ned Faraday marries a German entertainer and starts a family. However, he becomes poisoned with Radium and needs an expensive treatment in Germany to have any chance at being cured. Wife Helen returns to night club work to attempt to raise the money and becomes popular as the Blonde Venus. In an effort to get enough money sooner, she prostitutes herself to millionaire Nick Townsend. While Ned is away in Europe, she continues with Nick but when Ned returns cured, he discovers her infidelity. Now Ned despises Helen but she grabs son Johnny and lives on the run, just one step ahead of the Missing Persons Bureau. When they do finally catch her, she loses her son to Ned. Once again she returns to entertaining, this time in Paris, and her fame once again brings her and Townsend together. Helen and Nick return to America engaged, but she is irresistibly drawn back to her son and Ned. In which life does she truly belong? Written by Gary Jackson <garyjack5@cogeco.ca>

Plot Summary | Add Synopsis

Taglines:

What could she do but flee from love? She loved two men at once! See more »

Genres:

Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

| |

Release Date:

25 November 1932 (France)  »

Also Known As:

Deep Night  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (video: cut)

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Evelyn Brent was an early choice for the part of Taxi Belle hooper. See more »

Quotes

Taxi Belle Hooper: So you're the Blonde Venus. Don't tell me you thought of that label all by yourself.
Helen Faraday, aka Helen Jones: No. Mister O'Connor told me it would help me in my work.
Taxi Belle Hooper: He would. He didn't have to think up any name for me when I put this dump on the map. My name's Taxi Belle Hooper. Taxi for short.
Helen Faraday, aka Helen Jones: Do you charge for the first mile?
Taxi Belle Hooper: Say, you trying' to ride me? Don't get the wrong idea. They call me Taxi because I won't ride in nothin' else. Safety first, that's my motto. Good drinking partners always make bad drivers... ...
See more »

Crazy Credits

Opening credits are shown with a background of water reflected at a swimming hole. As the credits end, we see women swimming in the swimming hole. See more »

Connections

Featured in The Dreamers (2003) See more »

Soundtracks

I Couldn't Be Annoyed
Music by Richard A. Whiting
Lyrics by Leo Robin
Sung by Marlene Dietrich in French at the Paris nightclub
Reprised by her in English
Played as background music
See more »

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User Reviews

fun part of the series
13 March 2004 | by (Seattle) – See all my reviews

This is the 5th of the 7 legendary collaborations between Dietrich and von Sternberg, and the only one set in the U.S. (the other 6 are set in Germany, Morocco, Europe, China, Russia, and Spain). All of the principals, including the director, were born in Europe. For some reason it is my personal favorite, and the only one I enjoy watching repeatedly. Probably this is for the outrageous musical numbers, which display Dietrich's incredibly self-assured command of her environment (what can top "Hot Voodoo", but I really really love the glittering white top-hat and tails number particularly). This would have been the only time during filming that von Sternberg could not totally exercise his robotic direction of her; she gets to be more "herself" as a real performer, and her energy-level comes way up. Also I'd venture that since the story is set in the U.S. it makes it more challenging to present her as "exotic" (as opposed to, say, China). I love how von Sternberg plays her character's flight South, into increasingly lurid, run-down, and crude environments. The technical side of movie-making had made huge strides; film-stock was becoming much more uniform and high-contrast, and sound-recording had improved greatly in just a few years; von Sternberg was able to make full use of this. The film feels snappy and tightly-paced, and has mostly abandoned silent-film mannerisms.

In comparison to their next 2 films, this one feels quite grounded. The subsequent "Scarlett Empress" and "Devil is a Woman" would be increasingly baroque and outrageous excursions into fantastic style, excess, and European decadence, which kind of left their American audiences in the dust - and helped Dietrich land on the infamous "box-office poison" list.

This is a pre-Code film, and it routinely tweaks conventional morals. The nightclub in which Dietrich goes to work is clearly a high-class "speakeasy"; Prohibition was still in effect at the time. Also, its always a bit confusing for modern audiences when dollar-amounts are mentioned in old films. The personal check which Dietrich receives from Cary Grant is for $200 as I recall; in current dollars that would be something more like $2,500 and was an amount which would have set Depression-era audiences reeling with its clear implication of what Grant had received in return!

This is the first chance Cary Grant had to do a major co-starring role, and its the earliest of his films available on video. Another IMDb "comment" mentions Dietrich and Mae West supposedly "falling in love" with him, which is a laugh! Dietrich (in her daughter's bio) referred to him as the "shirt-seller" (Grant was selling men's shirts at the studio, as a sideline to make extra money); West preferred, to put it delicately, men who were a little more red meat (I think that Grant was already living with Randolph Scott at the time of filming; they used to attend Hollywood A-list parties as a couple, which Scott could get away with partially because of his very blue-blood East Coast family connections).

Originally available on LaserDisc (as a 2-disc set with "Shanghai Express").


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