7.4/10
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Angel (1937)

Approved | | Comedy, Drama, Romance | 29 October 1937 (USA)
A woman and her husband take separate vacations, and she falls in love with another man.

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(play), (adaptation) | 2 more credits »
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Cast

Complete credited cast:
...
Maria 'Angel' Barker, aka Mrs. Brown
...
Sir Frederick Barker
...
Anthony 'Tony' Halton
...
Graham
...
Christopher 'Chris' Wilton
...
Grand Duchess Anna Dmitrievna
...
Mr. Greenwood
Dennie Moore ...
Emma MacGillicuddy Wilton
Rest of cast listed alphabetically:
...
Prince Vladimir Gregorovitch (scenes deleted)
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Storyline

A woman and her husband take separate vacations, and she falls in love with another man.

Plot Summary | Add Synopsis

Taglines:

I want love - and I'm going to get it!

Genres:

Comedy | Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

29 October 1937 (USA)  »

Also Known As:

Engel  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Paramount paid $8,500 for Melchior Lengyel's play. The film length was gradually cut from 2916.94m (11 reels) to 2478.33m (nine reels) after pre-release showings in New York City and six California cities from 25 July 1937 to 13 September 1937. See more »

Quotes

Maria: Silly how upsetting a little thing like saying goodbye to one's husband can be.
See more »

Connections

Referenced in Jazz: Swing: Pure Pleasure - 1935-1937 (2001) See more »

Soundtracks

The Barber of Seville
(1816) (uncredited)
Written by Gioachino Rossini
Excerpt hummed by Edward Everett Horton
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User Reviews

Neglected gem, deserves reissuing.
31 May 2005 | by (Europe) – See all my reviews

The Lubitsch touch is omnipresent in this relatively unknown but extraordinary romantic comedy. The theme of a potential marital infidelity of a disaffected upper class wife (a gleaming Marlene Dietrich) is dealt with unusual sophistication and insight, building up slowly to a brilliant denouement, while the core dilemmas and the predicament of the main character are continuously and subtly underscored. The confrontations between the characters are a delight of restrained pathos, whereas Lubitsch, unsurprisingly, perfectly recreates a confined world of rigid social norms that suppresses any emotional profusion. All the performances are top notch, the secondary characters are equally memorable and the whole film is pervaded by the genius of one of cinemas most charismatic directors, Ernst Lubitsch. One wishes that modern romantic comedies had only maintained even a fraction of the wit and incisiveness that Lubitsch established as a norm in the 30s.


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