Review of Marlene Dietrich: The Movie Collection

Introduction

Marlene Dietrich may not have been the number one actress of her generation, but she was certainly in the running as one of the most charismatic of the film idols. An American-German, she had a movie career that lasted 6 decades, and was one of only a handful of screen stars who possessed eyes that with youth emblazoned beauty across her face, and with age became globes of wizened knowledge full of child-scaring stare.

So few can argue it`s about time she had one of these big, sexy shelfbuster DVD boxsets housing a collection of her most loved works, and paying tribute to more than 50 years in the business. The rather pricey 18-disc `Marlene Dietrich Collection` is out late November, and this review takes a look at `Blonde Venus` and `Golden Earrings` as presented in the set.

1932`s `Blonde Venus` sees Dietrich play a wife and mother forced to return to the world of cabaret in order to fund her husband`s trip overseas to cure his illness. It`s on the circuit she comes to the attention of millionaire playboy Cary Grant, who falls under the charm of her spell. With her husband out of the picture, the two forge a relationship, but upon his return she is forced to go on the lam with her young son in tow and an angry father only a few steps behind.

1947`s `Golden Earrings` is the tale of a British intelligence officer who escapes from Nazi seizure in pre-war Germany. Out in the countryside, he runs into an eccentric gypsy who agrees to help him escape the country by transforming him into one of her own.

Video

There`s clearly been no big remastering job on this set, more`s the pity. Both films are presented in 4:3 full frame format, and are, of course, monochrome. There`s a fair bit of film noise which varies from scene to scene on `Blonde Venus`, the older of the two pictures, but it`s remarkably free from the sort of minor print damage you`d expect from a film of its age. `Golden Earrings` is slightly worse for wear, with a bit more grain and suffering much more from shimmer. That said, considering their age, the transfers aren`t bad.

Audio

Dolby Digital 2.0 English and German for `Blonde Venus`, English for `Golden Earrings`, of which all tracks are good with no major issues.

Both discs house English, as well as a plethora of European language subtitles.

Features

None.

Conclusion

`Blonde Venus` is undoubtedly the finer of these two pictures. Dietrich pulls off the necessary transformation from homely mother and wife, to saucy stage vixen, to veritable ice maiden with ease, and the traditionally dashing Cary Grant walks a fine line between suave and smug. The chemistry between the movie titans in their shared screen time is sizzling, helped by the brevity of their scenes as well as the weight of their mutual legendary status. Both Dietrich and co-star Herbert Marshall could stand accused of pouring on the showy theatrical performances, and in the case of Marshall, to a point of a spirited overdose. But here, in a relatively early screen role, Dietrich is in the throws of her striking porcelain beauty and has an undeniable screen presence, and high-theatric style just feels right - although it isn`t until the second half when the movie opens up and allows Dietrich to go on a roll, delivering lines like she means every syllable of every word of every sentence, that she lights up the screen like a performer of her gravitas should. There are issues of character motivation which are a little questionable, but the script is flowing and the direction from autuer Josef von Sternberg is on fine form to the point where it doesn`t really matter, as this is a thoroughly enjoyable offering, a charming and even touching encapsulation of the depression-era.

`Golden Earrings` is no slouch, but the film plays up the fluffy, war-time romantic angle and is happy to hold its hands up as a clash of cultures love story. Dietrich gets straight to work here with a runaway performance as the straight talking, yet slightly bonkers gypsy Lydia, and the interplay between Dietrich and co-star Ray Milland is playfully pleasant, if entirely predictable. It`s even paced and jolly, thanks to flashes of comedy at the expense of the ever-so-uptight Englishman, as well as a few pokes and prods at Hitler and his boys, 1940s style. But it`s simply a little too lightweight to stand out as one of the finer examples of Dietrich`s work, despite her gift for the comical, and is sure to be eclipsed by her meatier, straight-laced roles featured in the boxset.