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.

This film has some wonderful moments, particularly the nightclub scenes where Dietrich "stripteases" out of a gorilla suit, and the pastoral opening sequence where the two lovers meet. The latter is handled in a very early 20s European style reminiscent of the heady days of Maurice Tourneur. The modern "American" sequences are too static, though, and the story is just a superficial melodrama that doesn't involve me too much. Cary Grant plays his early character type from the Mae West films with far less interesting results. One thing that is cool is that the club sequences give one an idea of what Dietrich's famous cabaret style might have been like.

Of the seven Marlene Dietrich/Josef Von Sternberg film, a partnership that is justifiably famous, collaborations, 'Blonde Venus' is the fifth. To me also, it's the weakest but still not by all means a bad film. Far from it, if not for all tastes, just that they also had great films like 'Shanghai Express' and 'The Scarlet Empress' and 'Blonde Venus' in comparison comes up short.

The story is silly nonsense, and does get rather too melodramatic and overwrought even for the 30s in the middle and muddled in a few of the latter scenes where it doesn't make as much sense as it ought to. The ending doesn't ring true, and the decision considering what happens in the rest of the film feels illogical. As great an actor as Cary Grant was, not many actors could do charming, urbane and suave better, this was an early role and one that despite the dashing charm he brought to it doesn't do anything for him, it's too much of a plot device sort of role that comes in and out of the story.

However, Dietrich is luminous and touching, making a real effort to make a real character out of the only really developed character in the whole film. Dickie Moore is cute and very natural, and Herbert Marshall plays a somewhat thankless role that barely stretches him valiantly down pat and makes him a conflicted character. Hattie McDaniel is a hoot as ever.

Staging of the songs are more memorable than the songs themselves, though they are nice enough on their own. Just that the dazzling staging of the "Hot Voodoo" numbers packs more punch than the song itself for instance, Dietrich and a gorilla suit proves to be an iconic moment.

The beginning of the film is also very daring and racy, remarkably so. A sharp, double-edged and sophisticated script helps too, as does Sternberg's adroit direction. As always with a Sternberg film, 'Blonde Venus' looks great. Not just the striking use of light and shadow lighting and the sumptuous settings and costuming but especially the pure imaginative classiness that is the cinematography.

In summary, quite good but not great like other Dietrich/Sternberg films are. 7/10 Bethany Cox