The last of seven Dietrich and von Sternberg collaborations suffers from the misogyny of the story on which it's based, and frankly it's also a bit of a mess. I'm not a big fan of story lines that involve an evil woman leading a man on such that he's rendered helpless by her charms, yet continues pursuing her despite her cruelty (e.g. 'Of Human Bondage' by W. Somerset Maugham, which was made into a film with Bette Davis in 1934, the year before this one). In the original story by Pierre Louÿs, whose erotic writing would sometimes dip into misogyny, the man in question eventually feels like he's had enough, and beats her. She likes this so much that he wins over, so yeah ... ugh.
This explains why the Hays Office censored the song "(If It Isn't Pain) Then It Isn't Love" from the film, even if in listening to audio recordings which survive, it doesn't seem salacious in its lyrics (e.g. "if it doesn't drive you insane, it can't be love"). In the film we do hear the beating though, after which Dietrich coos "Look at me. Look, Pasqualito. I'm black and blue. I know I've been cruel, but I'll make up for it. Tell me what you want me to do." Her hair has two circular coils in front, reminiscent of Goya's portrait of Thérèse-Louise de Sureda and clearly a reference to female anatomy, her mouth is right up to his ear and she's offering herself, but the eroticism of the scene is diminished severely because of the physical violence, which is all the more disturbing because it's shown to be appropriate, accepted by Dietrich, and effective in changing her behavior.
Dietrich does have her moments in the film, like when she makes a show of putting on her shawl and looking up at Lionel Atwill with beguiling eyes, and then later dramatically throwing open a thin curtain and with arms outstretched, staring defiantly at him. The film has high production value, with gorgeous outfits, headdresses, and hair/makeup, which maybe is the reason Dietrich liked it so much. The set designs are ornate and fabulous (iron gates and windows come to mind), and the crowd scenes showing life in Spain are energizing. It's a small scene, but I loved seeing the gypsy dancer on the train (apparently Luisa Espinel, uncredited), probably more than anything Dietrich does.
Unfortunately, Dietrich seems out of place for most of the film, and it's not just because she isn't Spanish, though that doesn't help. Early on she's much too made up, and hardly looks like she fits in the working room of cigarette rollers. As she plays cat and mouse with her suitor she acts absurdly, asking him if she's the only one in a silly, exaggerated way, and this along with other dramatic moments where she emotes oddly seemed to be Dietrich trying (and failing) to "act Spanish." It's an annoying character, and played unbelievably by Dietrich, much as it pains me to say it. Her musical performances are flat too. There's enough here to make it watchable, but you can do much better with other Dietrich/von Sternberg films.
This explains why the Hays Office censored the song "(If It Isn't Pain) Then It Isn't Love" from the film, even if in listening to audio recordings which survive, it doesn't seem salacious in its lyrics (e.g. "if it doesn't drive you insane, it can't be love"). In the film we do hear the beating though, after which Dietrich coos "Look at me. Look, Pasqualito. I'm black and blue. I know I've been cruel, but I'll make up for it. Tell me what you want me to do." Her hair has two circular coils in front, reminiscent of Goya's portrait of Thérèse-Louise de Sureda and clearly a reference to female anatomy, her mouth is right up to his ear and she's offering herself, but the eroticism of the scene is diminished severely because of the physical violence, which is all the more disturbing because it's shown to be appropriate, accepted by Dietrich, and effective in changing her behavior.
Dietrich does have her moments in the film, like when she makes a show of putting on her shawl and looking up at Lionel Atwill with beguiling eyes, and then later dramatically throwing open a thin curtain and with arms outstretched, staring defiantly at him. The film has high production value, with gorgeous outfits, headdresses, and hair/makeup, which maybe is the reason Dietrich liked it so much. The set designs are ornate and fabulous (iron gates and windows come to mind), and the crowd scenes showing life in Spain are energizing. It's a small scene, but I loved seeing the gypsy dancer on the train (apparently Luisa Espinel, uncredited), probably more than anything Dietrich does.
Unfortunately, Dietrich seems out of place for most of the film, and it's not just because she isn't Spanish, though that doesn't help. Early on she's much too made up, and hardly looks like she fits in the working room of cigarette rollers. As she plays cat and mouse with her suitor she acts absurdly, asking him if she's the only one in a silly, exaggerated way, and this along with other dramatic moments where she emotes oddly seemed to be Dietrich trying (and failing) to "act Spanish." It's an annoying character, and played unbelievably by Dietrich, much as it pains me to say it. Her musical performances are flat too. There's enough here to make it watchable, but you can do much better with other Dietrich/von Sternberg films.