Philip French’s screen legends: No 21
‘I am not a myth,’ she said - one of her least convincing statements. Born in Berlin, the daughter of a military family, she broke on to the international scene with the coming of sound as the nightclub performer Lola Lola, humiliating and destroying schoolteacher Emil Jannings in The Blue Angel (1930), a role on which she was to play variations for the rest of her life. The film was directed in Berlin by Joseph von Sternberg, the Hollywood aristocrat born into a working-class Jewish family in Vienna. Both self-creations, their conspiratorial Svengali-Trilby relationship continued back in the Us with six exotic, erotic melodramas at Paramount, in which exquisite decor accompanied the subversion of social decorum. Most of the films were produced before the Hollywood code was strictly enforced. Blonde Venus (1932), for instance, begins with Marlene and five other fräuleins bathing in the nude observed by six American hikers.
‘I am not a myth,’ she said - one of her least convincing statements. Born in Berlin, the daughter of a military family, she broke on to the international scene with the coming of sound as the nightclub performer Lola Lola, humiliating and destroying schoolteacher Emil Jannings in The Blue Angel (1930), a role on which she was to play variations for the rest of her life. The film was directed in Berlin by Joseph von Sternberg, the Hollywood aristocrat born into a working-class Jewish family in Vienna. Both self-creations, their conspiratorial Svengali-Trilby relationship continued back in the Us with six exotic, erotic melodramas at Paramount, in which exquisite decor accompanied the subversion of social decorum. Most of the films were produced before the Hollywood code was strictly enforced. Blonde Venus (1932), for instance, begins with Marlene and five other fräuleins bathing in the nude observed by six American hikers.
- 12/27/2017
- by Guardian Staff
- The Guardian - Film News
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