Blonde Venus (1932)

Passed  |   |  Drama  |  25 November 1932 (France)
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Reviews: 44 user | 28 critic

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


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Complete credited cast:
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)


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 <>

Plot Summary | Add Synopsis


From the lips of one MAN to the arms of another! See more »




Passed | See all certifications »




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Release Date:

25 November 1932 (France)  »

Also Known As:

Deep Night  »

Company Credits

Production Co:

Show detailed on  »

Technical Specs


| (video: cut)

Sound Mix:

(Western Electric Noiseless Recording)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Final film of Evelyn Preer. See more »


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... ...
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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 »


Featured in Marlene (1984) See more »


Sidewalks of New York
Written by Charles Lawlor and James W. Blake
Played as background music during the first scenes of New York
And when Faraday returns to New York
See more »

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User Reviews

One of Dietrich's best
6 December 1998 | by (Tonsberg, Norway) – See all my reviews

Josef von Sternberg would, no doubt, dismiss this film as one of his lesser works. Yet, to me,"Blonde Venus" sort of defines his relationship with Marlene Dietrich. The combined attraction of the harlot-mother gives Marlene's acting both sexual radiance and that intimate, moody quality that is so unique to her.

Just watch her in the scenes with her baby boy. She is lovely, glamorous, yet totally attentive to the child's needs, protective and unselfconscious in a way that only Carole Lombard (see "Made for each other" for evidence) managed back in those days. Her presence is so strong that she makes the male stars seem awkward and rigid. Herbert Marshall looks ill at ease, (probably from lack of directorial attention) while Cary Grant sails through the movie, unblessed by inspiration.

This is Marlene's film, through and through. The plot is silly beyond words (suffering in mink, writ large!) but Marlene makes it memorable. Her close-ups in the scene at the railway-station when she realizes she has lost her family tells it all. A lost soul with nowhere to go but down. Von Sternberg (or some intrusive producer) tacked on a happy ending, but the movie really ended there, on a bench. The rest is just wish-fulfilment.

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