Watch Angel For Free

Best movie of this year hands down!

Bad Acting and worse Bad Screenplay

It's a feast for the eyes. But what really makes this dramedy work is the acting.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

ANGEL (Paramount, 1937), produced and directed by Ernst Lubitsch, returns Marlene Dietrich to sophisticated comedy following her amusing role in DESIRE (1936) as a continental jewel thief. As much as this production could very well have been a cute romantic fantasy of an angel assigned from Heaven out to guide a troubled individual on Earth, what resulted was a domestic story about a bored wife who acquires the pet name of "Angel" from a complete stranger while her husband is away. While Dietrich's DESIRE proved favorable, ANGEL did not. The story begins on an airplane bound for France where Lady Maria Barker (Marlene Dietrich) registers at the Hotel Imperial. Coming to the Club De La Russia, 314 Rue De La Tour, to visit with an old friend, The Grand Duchess Anna Dmitrievna (Laura Hope Crews), the club's owner steps away to take care of matters, leaving Maria to step into a private sitting room where she encounters Anthony Halton (Melvyn Douglas), an American looking to meet someone for an amusing time in Paris. Mistaken for the Duchess, Maria agrees to show the gentleman around. After dinner, the couple rest on a park bench where Maria, refusing to give her name, finds herself embraced and kissed by a man who not only expresses his true love for her after only a short time, but dubs her "Angel." As breaking away to buy her a bouquet of violets, Halton returns to find his "Angel" gone. Sir Frederick Barker (Herbert Marshall), a British nobleman and delegate to the League of Nations, returns from Geneva to his British home and his wife, Maria. Unaware of her unhappiness and their dull existence together, things begin to change upon the visitation of her husband's wartime friend, a man wanting to meet his "Angel." Taken from the play by Melchor Lengyel, ANGEL contains some variations lifted from Lubitsch's own 1932 musical, ONE HOUR WITH YOU, where a doctor (Maurice Chevalier) innocently encounters a flirtatious married woman (Genevieve Tobin), who turns out to be the best friend of his wife (Jeanette MacDonald) whom she invited to their home. As with the husband and guest pretending to not to lead on their previous encounter to his spouse, Dietrich's Maria and Douglas' Halton do the same, but on more on a serious nature. Containing less wit than Lubitsch's previous efforts, the supporting cast contains some of the best known "comedy relief" types on screen, ranging from Edward Everett Horton and Ernest Cossart as the household servants, to the daffy Dennie Moore playing Cossart's fiancée, Emma McGillicutty. Interestingly all their roles, which might have given the story some life during some dull stretches, are sadly limited. For one of the film's better assets, there's that fine "Angel" theme score composed by Frederick Hollander. According to Robert Osborne, host on Turner Classic Movies where ANGEL premiered in January 17, 2002, during its tribute to Marlene Dietrich, Lubitsch and Dietrich both had high expectations for this film. In spite of Samson Raphaelson's promising screenplay, the film's box office failure lead to Dietrich's termination from her home studio. Fortunately the label of Dietrich as "box office poison" didn't last long with her reinvention screen persona in the hit western of DESTRY RIDES AGAIN (Universal, 1939) opposite James Stewart.Virtually unknown and/or forgotten among the film credits of either Dietrich or Lubitsch, ANGEL did get some exposure through its 1990s distribution on home video through MCA/Universal. Possibly viewing ANGEL more as a drama than a comedy might help accept the film for what it is rather than what it's expected to be. (**1/2)

Lubitsch is recognized as one of the great directors of the 30s, and yet this wonderful film is not on any of the usual critical lists of notable films. Perhaps it was too modern for its time. It is perhaps Dietrich's best English performance (though even here she could be a bit more subtle), but the real star is the director, shining in the shots he composes and performances he coaxes from his actors. Lubitsch is a master of subtlety, and when he places important moments off-screen, it is in such a way as to heighten their impact. Since the censorship code is in effect, the sexual elements are cleverly concealed. For example, Halton and Barker discover that in Paris they both visited the same... seamstress. The naive Hays Office must have thought that was the joke, but the real joke is on them for it is clear--at least today--that the two did not visit her to get their sewing done. The sophistication of the film is unusual for its time.Pages could be written about this film. Suffice it to say that if you like 30s film at all, see this. In certain moments, it feels perfect. Probably one of the top 25 of the decade.

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.

Wonderful Lubitsch comedy about a distracted husband, a neglected wife and an ardent suitor that has all the magic, humor, romance of the directors previous work. Dazzling camera work by Charles Lang make Deitrich look positively luminous. All the cast are perfect. The audience I saw this with at the LACMA Museum screening were utterly entranced by this neglected masterwork. Kudos to UCLA for restoring this treasure to its original splendor and to LACMA programer Ian Birnie for giving us the opportunity to see this little gem in all its glory. A 10 out of 10.........