Review of The Devil Is a Woman (1935) by Patty M — 08 Jul 2007

Dietrich plays a duplicitous Spaniard. At this point in the von Sternberg/Dietrich series of collaborations, the Marlene image has been refined by serious angle eliminations and intensified micro-acting.

Shots revealing Marlene's concave nose-bridge are gone, giving her a more classical appeal (also in Blond Venus); her high, dominant cheeks and mobile expressive chin replace the more traditional modes of eye-acting and body gesturing.

If it had been appropriate, Von Sternberg probably would have had her act with forehead veins and closeups of sudden goosebumps. The acting and detail in this film really help make it clear why cinema makes old acting methods seem ridiculous and new tricks necessary.

If it weren't for Von Sternberg's consistency of style, and the lack of a variation that his real peers like Visconti or Dreyer have, he might be the best director on a list of the best.