Dishonored (1931) User Reviews

Marlene as Mysterious Lady

[marcin_kukuczka · 7/10 · 28 December 2011]

A beautiful woman whose mystery provokes and rivets all viewers, a vamp, a spy, a seductress, a temptress, a woman of many faces and many names, desire embodied where just a look suffices to magnetize the strongest men. How predictable and 'kitschy' it may seem; nevertheless, how accurately it recalls a tendency widespread in the heyday of silver screen: make female celebrities as attractive as possible so that viewers can flock to see them in their most weird roles. They will become the dream of 'husbands' and envy of 'wives' And while Greta Garbo, the queen of MGM, appeared to stun many viewers as a spy lighting up the candles in THE MYSTERIOUS LADY, the burning desires really burst out here at Marlene Dietrich as a spy X27 playing the piano (manipulating everything) on the verge of climactic insanity.

DISHONORED, quite often compared to some other films of the time and treated in the inferior position to others, is undeservedly quite an underrated production. And sadly so because the cooperation of Josef Von Sternberg and Marlene Dietrich boasts of some really valuable moments here. Set in the early 20th century Austria, the sets seem to stun equally as the music. The whole movie still occurs to be a visually and atmospherically arousing achievement. The use of classical music, which combines the traditional tunes of Johann Strauss's "The Blue Danube" waltz with the unconventional "Waves of the Danube" by Iosif Ivanovici, seems to manifest the core of the storyline: all those contradictory emotions, plans, events provoked by a woman with her black cat.

The woman who is not afraid of life nor death; the woman of many masks who selects within a broad spectrum of roles needed in closely-knit expectations: from a prostitute to a housewife. Consequently, she is a woman who prefers not to give her true name and appears as a mysterious cipher, X27. Besides, she is the woman who hunts for men and ... slowly goes on undressing...not so much driven by the flesh but the duty. There is no need to say more about the character because everything is rewarded by one name - MARLENE DIETRICH. Her marvelous performance is a purifying combination of conventional acting and unconventional ideas, a lovely manifestation of juxtaposing personality. She does a flawless job as a delicious teaser, a sophisticated woman, a masochistic pianist, an extremely funny little housewife but foremost a foxy spy greatly absorbing. Her character stands for a cat no matter if it is a humorous meow or sensual wow. Among her very best roles, many critics recall the finale, the execution when she stays cold mentally and delicious visually (even the lipstick). The moment, though considerably different, is sometimes compared to or rather contrasted with Garbo's walk filled with 'holy bliss' in MATA HARI. Though great is the moment, I prefer another one: seduction of Colonel Kranau (Victor McLaglen) where Marlene embodies desire. "I have a feeling we've met before" appears literal and metaphorical. Moreover, the source inspiration for the the manner the scene is shot, Picasso's "Les Damoiselles D'Avignon," is a worthwhile effect on the screen (Keith Uhlich analyzes it accurately in his 2003 review). And the men?

Warner Oland as General Von Hindau gives a terrific performance in his short but crucial moments for the storyline. Acquainted with X27 at the mask ball (a scene also filled with associations: note the bird and the balloon, for instance), he invites her to his room and there...so much happens, so much is revealed, such a tension grows... Victor Mc Laglen is also captivating as Colonel Kranau who does not merely come to see her for a kiss but... Nevertheless, the man who remains, to me, most memorable is Gustav Von Seyffertitz (also an accurate example for recalling THE MYSTERIOUS LADY).

An interesting film thanks to Marlene and the mysterious lady she portrays. A little bit shocking film like most of Von Sternberg's films but what would it all be if the director were not present, somehow? All in all, no masterpiece but a worth seeing pre-Code production! Highly recommended for silver screen lovers. 7/10

Dietrich the spy, Dietrich the romantic in spite of herself

[netwallah · 7/10 · 13 June 2006]

Marlene Dietrich plays Marie, the widow of a decorated Austrian WW I soldier down on her luck, recruited for the secret service by a dour secret service chief (Gustav von Seyffertitz) to become spy X-27. Her first assignment is to trap a mole for the Russians (Warner Oland, playing the first non-pseudo-oriental role I've seen him in), which she does with ease. Her next adversary is the wily Russian spy Colonel Kranau (Victor McLaglen), and the two of them keep stalemating each other. Ultimately, her gesture acknowledging love though she doesn't say it aloud, she allows him to escape the Austrians who have captured him, and she is tried and executed for treason. In this movie, von Sternberg makes the most of Dietrich's enigmatic bearing—she's not much interested in living, and not much afraid of dying, so she might as well die for her country. No reproach for her country's neglect of the widow of a hero. Von Sternberg also gives plenty of examples of his famous eponymous lighting, making Dietrich look even more alluring, jaded, insouciant, and enigmatic than ever. McLaglen is an odd choice for a romantic hero. Most of his parts emphasize bluff, even cynical good humour or vicious toughness. Here he smiles knowingly and moves with ease in uniform. Perhaps he grins too much, but the balance of his joviality with Dietrich's pallor is intriguing.

Spy vs. Spies

[lugonian · 8/10 · 7 March 2009]

DISHONORED (Paramount, 1931), written and directed by Josef Von Sternberg, stars German born Marlene Dietrich in her second Hollywood film, and third under Von Sternberg. Following the enormous success of German made production, THE BLUE ANGEL (Ufa, 1929), and her Hollywood debut, MOROCCO (Paramount,1930), Dietrich was offered the opportunity to not only be the only female in the major lead, but a chance to break away from typically playing cabaret singers to that of a prostitute turned spy during the World War. With spy melodramas being common ground on screen, the best known being Greta Garbo's interpretation of both MGM's THE MYSTERIOUS WOMAN (1928) and as MATA HARI (1931), DISHONORED attempts on becoming something different, different in terms of Von Sternberg's directorial style, giving this production more of a European than American impression. Although this method was hardly new by 1931, it still should leave a lasting impression, especially for film students.

Opening title: "1915 - A ring of steel encircles Vienna ... strange figures emerge from the dust of the falling Austrian empire, one of these, listed in the secret files of the war office as X-27 might have been the greatest spy in history ... if X-27 had not been a woman."  The story opens in Vienna on a rainy night where a crowd of people witness a body being carried away into an ambulance. Overhearing a streetwalker (Marlene Dietrich) making a comment, "I am not afraid of life, although I am not afraid of death either," a mysterious man (Gustav Von Seyffertitz) approaches her. Escorting her to her apartment, he offers her a job making some easy money as a spy. After turning him over to the police, the man identifies himself as chief of Secret Service Headquarters, leaving the officer his calling card to give to the girl. Realizing the man's sincerity to his country, and a chance for adventure, the girl arrives at the headquarters where she accepts her new role in spite of possible danger and high risks. Working under the name of X-27, her first assignment is spying on General Von Hindau (Warner Oland), whom she meets at a masked ball, who's suspected of being a traitor passing information to the Russians with a clown being his contact. Her job soon finds her trailing that of Lieutenant Kranau (Victor McLaglen) and Colonel Korvin (Lew Cody) as possible threats to her country. Although she proves herself an exceptional spy, X-27 betrays her trust when she falls in love with one of the enemy spies. 

While DISHONORED is slowly paced in true essence of Von Sternberg's direction, a method that tends to bore contemporary viewers, the visuals, however, are outstanding. Overlooking its spy vs. spies scenario, it's interesting pointing out what Von Sternberg does with the camera, especially extreme close-ups of Dietrich's face superimposed by action occurring someplace else between two other characters as she plays her favorite piece on the piano ("The Anniversary Waltz"), or a superimpose of a cat's eyes to reflect the mood of Dietrich's unafraid character. With Dietrich donning several disguises, her best turns out to be the that of giggling shy Russian peasant girl.

While it's been stated that McLaglen's role was originally intended for Gary Cooper (bad casting), Dietrich's leading man in MOROCCO, Victor McLaglen appears to be an unlikely candidate as a Russian spy, a role that should have gone to either Paramount's own leading man of Fredric March, or a European import in the range of Nils Asther, for example. Barry Norton's one brief bit in the firing squad scene where he makes pleas about disobeying orders leaves a lasting impression long after the movie is over. Von Sternberg would reunite Dietrich with DISHONORED co-stars Von Seyffertitz and Warner Oland, in what's considered to be their finest collaboration, SHANGHAI EXPRESS (1932), featuring Clive Brook.

Commonly shown on commercial television up to the 1980s, cable TV presentations of DISHONORED have been exceptionally rare. Notable broadcasts have been on the Movie Channel (1991) and Turner Classic Movies (January 2002) as part of its "Star of the Month" tribute to Marlene Dietrich. This and other Dietrich productions during her Paramount years have been distributed on video cassette. As much as DISHONORED tends to be more Von Sternberg than Dietrich, it is Dietrich who makes the film much better than it actually is. (**1/2)

Cinema!

[James-Morrell · 25 November 2004]

***SPOILERS*** ***SPOILERS***

This is the 3rd of the 7 von Sternberg films to star Marlene Dietrich (here, she plays a spy known as x-27) based on a story written swiftly by the director to capitalise on the success of 'Morocco'.

If von Sternberg didn't 'write' all of his films he certainly 'rewrote' most of them, as 'Dishonored' replays a theme recurrent in many of his films, that of sexual desire as the overriding driving force behind behaviour. That 'Dishonored' is a lot less successful a film than 'Morocco' might be down in part to its leading man Victor McLaglen - unconvincing as the spy that Dietrich falls for – a grinning rictus unable to convey charisma. Gary Cooper was the original choice for the part and, based on this, it's a shame that he refused to work with von Sternberg here. Cooper was certainly a Sternberg actor: his performances tended to be those of brooding but ultimately dignified types, internalising emotion: here, McLaglen doesn't give the impression of having any emotions at all. Coincidentally, it's this very Sterbergian aesthetic (of performers moving stolidly and glumly among highly Expressionist scenery) that is least to the fore in 'Dishonored'; Sternberg struggles to make much of 're-creations' such as the Austrian Secret Service headquarters and a Russian military base, instead depending on elongated dissolves between scenes (some of the double images achieved are Surreal). Likewise, the drawn out delivery of the dialogue, reminiscent of a school nativity play at times, would certainly be intolerable for a modern audience – explaining the non showing of von Sternberg films today. Indeed, Dishonored could quite easily be a silent film (with a piano accompaniment) were it not for the final scene -

SPOILERS * * *

Dietrich's execution at the hands of a firing squad in which the echoing sound of military drums, soldiers' voices and guns, catapult the viewer to a different level than almost everything experienced before. This climactic scene isn't achieved by pyrotechnics alone however, so much as for the fact that the young lieutenant responsible for escorting X-27 to her death is the same soldier who had previously escorted the then new recruit to the office of the Head of the Austrian Secret Service on her first day.

Back then, he had accompanied her along a long marble corridor.

'Quite a walk, isn't it?' he'd remarked. To which she'd replied: 'I don't mind walking.' By the time they had reached the office the soldier confessed: 'I must tell you, I could walk with you forever.' In the final scene, upon entering X-27's cell and requesting that the spy follow him, X-27 asks: 'Are we going to walk together again?' - managing a disdainful laugh on 'together'. Finally, as she faces the firing squad it is the same young soldier who has the responsibility for giving the order to fire. Thus follows a remarkable sequence: A shot of the hesitating lieutenant; shot of the Head of the Secret Service; shot of Dietrich smiling benignly; shot of reflection of guns on the skin of a drum. The lieutenant cracks. 'I will not kill a woman. I will not kill anymore men either. You call this war? I call it butchery. You call this serving your country? You call this patriotism? I call it murder.' This would be unremarkable in itself were it not for the fact that throughout this impassioned speech X-27 is seen retouching her lipstick.

Would does it mean?

For me this final gesture mocks crocodile tears, mocks the sentimentality of the traditional Hollywood ending, mocks the very notion of Hollywood glamour itself. And it mocks those things for the very reason that those things are not real.

The artificiality of Joseph von Sternberg's cinema (this most studio bound of all directors) is actually only a means to an end.

Tremendous Delirium

[MogwaiMovieReviews · 6/10 · 25 July 2018]

Well now this is just very silly. As others have pointed out, Victor McLaglen acts his best but is fatally miscast - too rigid, charmless, snide and creepy in a role that is crying out for a Clark Gable or Cary Grant.

On the other hand Dietrich was never more beautiful, and you can feel Sternberg's worshipping of her through the camera lens. The photography is luscious and the BluRay restoration a joy. Warner Oland has a small role as something other than Charlie Chan, which is very odd to see.

The story, dialogue and characters are thoroughly unbelievable at every turn, and the whole thing, really, is just a delirious but delightful mess, a stilted, fevered, nonsensical fairytale dream about spies, but no less likeable for all that. Accept it and love it for what it is, because it isn't like anything else.

An overlooked masterpiece

[theorbys · 10/10 · 19 August 1999]

One up front negative: Victor McLaglen as a dashing, adventurous Russian officer is very badly miscast.

This is a World War I Mata Hari genre film with Marlene Dietrich recruited by the Austrian Secret Service to spy for them against the Russians. Like the other Von Sternberg/Dietrich collaborations this is all about visual texture and Marlene's incredible persona (which is very much due to her equally incredible talent). Both come together perfectly in the amazing masked ball scene full, full, full of confetti, long twisted streamers, costumed revelers, and uncurling paper party-horns that you blow through to make a high pitched little squeal.

In one remarkable scene Marlene is hypnotic just saying, "No." "Yes." "Noooo." and "Maybe." In another her dialog is a hilarious and inimatable series of "Meowwws." I don't remember her singing in this one but she plays the piano with abandon. Nevermind the plot, this is a film you watch because it is a great vehicle for one of film's greatest, if not the greatest, stars and because it is great cinema.

DISHONORED (Josef von Sternberg, 1931) ***

[Bunuel1976 · 7/10 · 30 May 2011]

To begin with, this was another Marlene Dietrich production to rival a Greta Garbo vehicle – namely the same year's MATA HARI (which I own as an original DVD, through Warners, but have yet to check out). It is actually the most overlooked of the 7 collaborations between star and director; even so, German 'enfant terrible' film-maker Rainer Werner Fassbinder once named it one of his all-time Top 10 films! The reasons for this neglect being its inherently archaic quality (the film seems to belong to the Silent era as, indeed, the plot – ironically, supplied by Sternberg himself! – lacks substance and, even more so, credibility: we are told that Dietrich could have been WWI's greatest spy but she only handles two assignments before being captured, her risking life and honor – hence the title – for the sake of uncouth enemy agent and co-star Victor McLaglen and, just as incongruously, an obviously infatuated young officer is shown flipping at her execution!) and cornball tone (Austrian Dietrich disguised as a naïve Russian cleaning lady and cringe-inducingly meowing like a cat in order to flirt with her 'targets', not to mention having McLaglen irritatingly sport a constant grin throughout!). The film does look forward to subsequent (and superior) entries in the 'series': Dietrich would be re-united with both Warner Oland and Gustav von Seyffertitz in her very next venture with Sternberg, SHANGHAI EXPRESS (1932), while the carnival scenes early on (in which McLaglen feigns to be a cripple!) would be reprised in their last effort, THE DEVIL IS A WOMAN (1935)!

Dietrich is literally picked off the streets by Seyffertitz, but he is immediately impressed with her when, offering the protagonist the opportunity of spying against her fatherland, she asks to be excused and summarily fetches the Police! Oland's womanizing weakness (actually an Austrian traitor in cahoots with Russian McLaglen) naturally makes her the ideal choice to expose him: when she does, he congratulates her and, in a nice reversal of the above-mentioned scene with Dietrich's superior, absents himself to commit suicide! Next, she goes after Oland's contact but, having fled back behind his own lines, Dietrich follows in pursuit: they engage in a game of cat-and-mouse but their mutual attraction holds them at bay; when McLaglen is eventually captured, she asks that the two be left alone, ostensibly for questioning…but he is given a chance to escape instead! Tried and condemned to death by firing squad, Dietrich bravely faces her destiny: surprisingly, the actual shooting is not flinched upon (no loving final close-up for the star here!), the camera resting on a dejected Seyffertitz passing by the country's insignia embedded in the walls as he walks out of the barracks, his shadow hanging tall over the scenery.

Exquisitely lensed by Lee Garmes, it is mainly in moments such as this that the film really comes to life; with this in mind, while it may not hang together dramatically nowadays, DISHONORED shows off the director's uniquely pictorial sense, as well as moulding the mythic Dietrich image of a mystery woman who could turn men's heads with her alluring beauty but is herself driven by love above all else...

A giddy joy

[oOgiandujaOo_and_Eddy_Merckx · 10/10 · 21 December 2009]

It is best to write first about von Sternberg's aesthetic as some have not grasped it so well in my opinion. When I first watched his "The Scarlet Empress" my initial feeling was that it was very silly; as a historical portrait of Catherine the Great of Russia it's ludicrous, in every palace scene these grotesque and implausible Russian Orthodox inspired gargoyles and paraphernalia loom out of the darkness. The palace sets reek of congenital insanity and cobwebbed decay that is decadently overblown. This is not the point though, for what we are seeing is not Tsarist Russia, but childhood dreams of Tsarist Russia. Who as a child if they read of Rasputin or Mata Hari, or Jack the Ripper didn't fully over-egg the pudding in their mind? My favourite dream is of an insomniac Russian court listening to those inestimable gifts of Bach, the Goldberg variations. You will never see my fever dream as I am not Josef von Sternberg, one of the greatest artistic geniuses (I really mean that word) of the Twentieth century.

Dishonored I am told is the least of the Dietrich/Sternberg collaborations, if that is so, then it is the least of the great peaks of the Himalayas in filmic terms. It is almost pure dreamscape. The film is in some respects an elaborate parry and thrust duello between Dietrich's X-27 and Victor McLaglen's Colonel Kranau, an Austrian and a Russian spy during The Great War.

It has been said that McLaglen was miscast in this movie. That for me is palpably false. McLaglen is mainly known for his stock character roles in John Ford movies, usually playing slightly oafish but well-meaning fellows. It may be the case that folks have been unable to disentangle that persona from what they saw in this film. My own personal blind spot is that I can only see Norman Bates when I see an Anthony Perkins movie, which ruins them every time. For me Victor's smile, which is all you see in the masked ball, is perfect for the role, his lifestyle and way with the women positively makes James Bond look like a rank amateur. There is an almost balletic moment in Dietrich's (why not say Dietrich when we are dealing with such an artificial delight?) bedroom where Victor effortlessly catches her hand as she whirls away from him; how can a movie be so controlled yet seemingly effortless? What this film leaves you with, which is the way of life of both Kranau and X-27, is the feeling of being neither afraid of life nor of death. These are two super-people leading exorbitantly fulfilled existences. Frankly I was overcome by this film. The masked ball, with Kranau grinning and hobbling away on his crutches will stay with me until I am dribbling and senile.

It is right and honest and proper to dedicate something you enjoyed doing. So I dedicate this review to Claire B, who is wonderful.

Dietrich As Luscious German Spy

[iquine · 7/10 · 29 June 2019]

(Flash Review)

This time around Dietrich is using her allure to gain secrets of the enemy Russians as a spy rather than to just toy with men's emotions in some of her other films. She is a widow to a man who died in battle and due to her somber background no longer fears death so is a well-suited to her new role of being a spy. After a first successful assignment, the next man matches her intellect and she grows fond of him which ultimately leads to some tough decisions which leads to a very shocking ending. As always Dietrich is in several stylish outfits which complement the film's visual styles of layering objects and using lights & darks to create a moody atmosphere. Style is even on her mind in the most unexpected moments. As opposed to some of her other films, the story feels better focused, paced and more interesting.

Fascinating film.......so bizarre...

[zetes · 9/10 · 4 January 2002]

Most will dislike Josef von Sternberg's Dishonored. The plot is often ridiculous, and that's what most people like to comment on. I found it hypnotic. The inconsistencies didn't annoy me so much as entertain me. In a way, this could be called a camp classic. Whatever type of classic it is, though, it is an amazing film. Confer the scene nearer the beginning when Marlene Dietrich walks right up to the camera, within inches of its lense. How about the scene where she plays a Russian peasant girl to infiltrate the Russian army (she's an Austrian spy)? She climbs up on a high ledge and starts meowing at the man whom she is seducing. The final sequence is stunning and audacious.

I'm skipping a few lines in order to give sufficient room to write this

SPOILER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!



Who else but Marlene Dietrich would insist that her lipstick were on straight before she was executed by firing squad?

"You trick men into death with your body!"

[JoeytheBrit · 6/10 · 16 December 2009]

Even if you knew nothing about von Stroheim and Dietrich you'd be able to tell just from watching this movie that the man was in love with at least the image of the woman. His camera almost seems to caress her at times and the lighting accentuates those incredible sculpted cheekbones. No other actress that I can think of received the kind of on-screen attention Dietrich received from von Stroheim, and he is probably more responsible for creating the legend than the woman was. Because, let's face it, Dietrich was no actress - her monotone delivery in this film borders on the excruciatingly bad at times…

She plays a hooker, former wife of an Army officer, who is recruited into the secret service by its chief no less. The opening scenes are terrific. We first see Dietrich's legs on a rainy street, and hear the rain pounding on a broken drain as she adjusts a stocking. Someone in her block of flats has been murdered, and Dietrich's comment that she isn't afraid of life or death is overheard by the head of the secret service. She invites him up to her room, and while her profession is never expressly referred to, we're left in no doubt as to just how the former officer's life is making ends meet. She prowls around her cramped little flat, radiating sexual allure, and throws herself down in a chair with one leg over the arm in an open invitation.

It only becomes apparent that this is a love story between rival spies when we're well into the film. The opposing spy is big bluff Victor McLaglen who really is badly miscast. He grins during their verbal interplay as if an invisible hand has his arm twisted up behind his back while Dietrich rolls her eyes without moving her head, and there is absolutely no chemistry between them. The role called for an element of dashing suaveness on the part of McLaglen that the old boy simply didn't possess. Dietrich uses sex to lure him the same as she does with everyone else (again, in their first meeting, Dietrich offers him a kiss if she fails to predict the next number at roulette – and we're left in no doubt that 'kiss' is a euphemism for something much more earthy).

Despite these apparent drawbacks, the film is enjoyable enough. It's only 85 minutes long and moves at a fair old lick, and is filled with such cool devices as secret panels in walls, secret messages rolled up and hidden inside a cigarette, secret messages disguised as musical notes, noble suicides and firing squads. The ending's fairly downbeat for a mainstream 30s Hollywood flick, but it fails to qualify as a tragedy simply because of that lack of chemistry between the stars and the fact that there is no real depth to the characters.

Under-rated von Sternberg

[canonaspirin · 8/10 · 25 December 2005]

Having just viewed this movie for the first time, I must say that from what I've seen written about Dishonored it seems somewhat unappreciated. While perhaps not a masterpiece on the level of other von Sternberg/Dietrich pairings, such as the two greats The Blue Angel and Blonde Venus, like them both it oozes with the unmistakable marks of its director: the stark dialogue, the lavish attention to atmosphere (such as all the wonderful interiors), and a pervading sense of marvelous oddness. Von Sternberg shows us that the real triumph of his cinema is not one of the reality it affords, but one of style, of which Dishonored has enough to spare.

Cold as Winter.

[Abyss47 · 6/10 · 18 July 2013]

Dishonored is a bit of an odd bag because, although it's by far one of the most impressively shot films of the 30's - right down to the use of lighting and shadows - and had a daring ending for the time, it rings hollow in nearly every other aspect apart from maybe editing (mainly because of the fades). The plot, while sounding interesting on paper - to me at least - also fails to leave a lasting impression - and the wooden performance from lead actress Marlene Dietrich - who I may or may or may not have seen in other stuff - only serves to highlight just how big of a quality difference there is between the photography and everything else. Victor McLaglen fares a bit better than the rest of the cast despite some odd moments in his performance, but ultimately, even his portrayal left me cold by the end. In fact, the entire film has a very cold feel to it, which, normally appeals to me (hey, I love Kubrick's work), but this film just came off as obnoxiously insipid, almost completely vapid if it weren't for the visuals. The humor, which I can understand is very much of the time, fell flatter than a pancake. "MEOW!" (repeated) - That's not funny, that's just f-cking annoying.

Josef von Sternberg knew where to place his camera, as showcased well here, but I have no idea what he was going for in regards to mood and tone. It's just all over the place. During the midpoint, one character ends up being killed off, but the scene feels so insignificant that the only thing that came to mind was, "Oh, somebody died. Oh well." In the midst of a serious story, there also all these goofy moments that feel out of place as well. It may seem like I'm trashing the film, but I really didn't think it was that bad; I admired the look, didn't I? I just expected a lot more considering the story premise is one that greatly appealed to me before deciding to watch the film, and because I expect a lot more out of films than just some pretty images. I suppose my biggest disappointment was that this was my introduction to a supposedly great director. Well....maybe next time.

Color Me Confused

[view_and_review · 3/10 · 19 August 2022]

I was pretty excited about the prospects of "Dishonored." Austria wanted to use a female spy to help them expose one of their own. The fact that a nation was willing to put convention to the side in order to get the intel they needed was novel, bold, and commendable. Then the whole thing went left.

It was 1915 during The Great War aka WWI and Marie Kolverer (Marlene Dietrich) was recruited by the Austrian army to find out who was giving state secrets to the Russians. As her recruiter (Gustav von Seyffertitz) put it:

"There are times in my work when a man's brain cannot accomplish as much as a woman's charm."

It wasn't exactly flattering, but OK.

Marie accepted the position and was given the code name X27. She found the Austrian traitor in short order then set her sights on the Russian spy. She found the Russian spy named Colonel Kranau (Victor McLaglen) still on Austrian soil, but she couldn't capture or kill him.

Her next mission was to go to Russia and spy. She successfully gathered intel in Russia, but was then caught by Col. Kranau largely because of a cat she carried with her. The cat was a dead give away, but she proclaimed that it gave her luck. It must've had some luck to it because after sleeping with Kranau she slipped him a sedative that allowed her to get away.

The score is now 1-1 for those keeping count. Kranau got away on Austrian soil and Marie got away on Russian soil. Now we go to sudden death.

If you're asking yourself why she slept with Kranau, you're not alone. I, too, wondered why she slept with him. Was it because she fell in love? Was it because it was exciting? Was it to make him more vulnerable? Or was it what she was expected to do for her country? I don't know and it was hard to know from Marie's behavior. Marie was impassive the entire movie. She never showed a single emotion other than ambivalence from beginning to end. It didn't matter if she was trying to be seductive, tough, or coy--she had the same mode of speech and mannerisms.

Whatever the reason was that she slept with Kranau I thought it was an incredible blow to her character individually and to women in general. It was already asserted that a woman could get further with her charm; I was half expecting her to prove that she could get a lot further with her brain. Sleeping with the enemy was an insult, as if a female spy will resort to sex because she can't resist a handsome powerful man.

The war went on a bit longer and Kranau was captured by the Austrian army. The only one who knew who he was was Marie. She outed him as a spy and he was summarily sentenced to death.

Marie asked for permission to speak to him because perhaps she could get him to talk. The Austrian brass didn't believe she could, but they gave her ten minutes with him anyway.

Then she helped him escape.

The score is now 2-1 Russia (or 2-1 Kranau if you prefer).

At this point I'm totally befuddled and I'm pretty perturbed. How... why... wha...? What is she doing? What is going on here? What did I miss? And again, Marie gave away nothing in her words or behavior. She was just as impassive as she was in the opening scene.

When asked by the Austrian army why she helped him escape, she said, "Perhaps I loved him."

Perhaps you loved him? Really? You can't even say definitively why you committed a gross act of treason and pretty much gave yourself a death sentence for the guy.

When the court refused to accept that as an answer she nonchalantly said, "I suppose I'm no good."

Her answers were infuriating to say the least. And her smug behavior only made her answers more infuriating. Her attitude and her answers said, "You don't deserve a reason and I'm not giving one," but it didn't add up.

The movie began with her calling the police on a man she thought was trying to harm Austria, so it was made apparent that she loved her country. So, to then let a notorious spy escape didn't jibe. Did she really fall in love with Kranau or did she become disenchanted with her country? If it was the former, then it was again an incredible insult to women. If it was the latter, they did a horrible job conveying that.

If it was that she fell in love, then the movie is proclaiming that women can't be trusted to do important work around men because they will fall in love. Now, to be fair, the men she used were equally guilty of falling short in their duties due to their lust for a woman, but that will always be overlooked. The fact is that she represented all women at the time of her service and she did a disservice.

If it was a case that she became disenchanted with her country, then why and at what point? What was done to her by her country to make her have such negative feelings towards Austria? I want answers!

The court martial charged her with treason, she gave no defense, and she was sentenced to death. Right before a lieutenant was set to give the command to fire he threw down his sword and shouted, "I will not kill a woman!"

It was pathetic.

This movie was already trouncing on gender roles and they went so far as to make it ungentlemanly to kill a woman even if she's guilty of treason. A man guilty of treason, sure use every bullet in your arsenal; a woman guilty of treason, "Oh! I dare not," as though somehow a woman's treason is less dangerous or more excusable.

This movie took an excellent premise and sharted on it. It had the potential to be significant and good, yet inexplicably they threw it away. What began as a promising movie was squandered and without any explanation. Marie was such a mercurial character and we were never allowed to know why. If I just knew more of her backstory, more of what made her tick, then maybe her behavior throughout would've made some sense. But instead they left us ignorant, which essentially left us to our own suppositions as to who and what she was and I suppose she was just a woman who didn't care much about anything or anyone, not even herself.

Free on Internet Archive.

great cinematography

[Kirpianuscus · 7 July 2016]

one of old fashion films who, using the story only as pretext, gives magnificent cinematography. a war story, remembering Mata Hari biography, it is the scene for brilliant, fascinating, ambiguous, charming performance of Marlene Dietrich. not a real surprise. only delight. because each word, each gesture, each dialogue becomes a Persian carpet of details. the clothes, the music, the piano, the cat, the attitude of a woman who covers her patriotic feelings in a refined form of hedonism, her forbidden love story who has the only sin to not give to her the right partner to be easily credible, the last scene who gives to death new nuances are the ingredients of great example of high cinematography. and that does Dishonored memorable.

a Dietrich-von Sternberg collaboration

[blanche-2 · 7/10 · 23 March 2021]

Seeing the glorious Marlene Dietrich in this film, I'm reminded, sadly, of what we've lost today in movies. Yes, we have wonderful and beautiful actresses, but where's the specialness that made someone like Dietrich so compelling? Exotic and mysterious, she's breathtaking.

Marie (Dietrich) is asked to spy for the Austrian secret service - she's a widow who lost her husband in the war, and she's a patriot. Marie agrees to use her considerable charms and beauty to wrangle some secrets out of the enemy.

This film is in response to Garbo in Mata Hari - Dietrich is much better as a seductress, plus she had the benefit of von Sternberg's direction. The masked ball scene is a highlight.

There is one large problem in this film in the person of Victor McLaglen, terribly cast and ruining an important part of the story. Supposedly she falls in love with him - well, there was no chemistry, there was nothing particularly romantic and charming about him - and to think Gary Cooper turned this down. Love ruins Marie as a spy.

The last few scenes are magnificent, with Marie, ever the adventurer, meeting her destiny with dignity - and a little primping.

von Sternberg gives us rich visuals and a very European flavor. And certainly he had the perfect star to match his vision. Gorgeous, glamorous, sensational Dietrich in a great role for her. Pity we wouldn't see anything like that in modern times.

Marlene Dietrich and Josef Von Sternberg at their most overlooked

[TheLittleSongbird · 8/10 · 7 April 2017]

The partnership of actress Marlene Dietrich and director Josef Von Sternberg was a justifiably famous one, and could even be seen as iconic (personally do consider it so). They did seven films together, starting with 1930's 'The Blue Angel' (perhaps the most historically significant) and ending with 1935's 'The Devil is a Woman', all of which ranging from good to outstanding.

'Dishonored', from 1931, is not their best collaboration, personally put 1932's 'Shanghai Express' and 1934's 'The Scarlet Empress' above it. Nor is it their weakest, to me the uneven but still good 'Blonde Venus' from 1932. Of their collaborations, of which this is their third, 'Dishonored' is perhaps their most overlooked, while it does have its drawbacks (well, two big ones) it's still a fine film with a lot to admire.

It is let down by two things. 'Dishonored' does contain some of the weakest writing of any of the Dietrich/Sternberg films, there is some witty spark here and there but other parts are distractingly sluggish and melodramatic with a cornball tone that can get annoying and repetitive too.

Am also of the opinion that Victor McLaglen is unconvincing, the role calls for a more restrained nature compared to his usual roles but McLaglen's performance is far from that, he's too bland for a love interest while mostly his performance feels very odd tonally, with the idiotic constant grin amongst other things McLaglen was like some over-enthusiastic overgrown child or something.

However, cannot fault Dietrich at all here. She is positively luminous in her erotic sensuality, and not only is she fun to watch she also gives a vulnerability that helps the character come over as compellingly real. Nor can one fault the terrific performance of Warner Orland, or Sternberg's as ever accomplished direction that boasts many striking images visually and a way of telling the story that the film remains engaging throughout, script flaws aside.

One can always count on a Sternberg film to be visually beautiful, and 'Dishonored' does not disappoint. Not just the striking use of light and shadow lighting and the sumptuous settings and costuming but especially the cinematography, which is often enough to take the breath away. The music score is stirring yet not intrusive.

Cannot not mention the climactic execution either. A scene that stays with the viewer forever with its emotional impact and gut wrenching power, openly admit to crying here the most for any film in a while. The story is absorbing and goes at a cracking pace on the most part, with the odd bump when the dialogue gets stuck.

In conclusion, a fine overlooked film. 8/10 Bethany Cox

Marlene does Mata

[st-shot · 6/10 · 17 November 2023]

Made after but released in the US before The Blue Angel, Dishonored is Marlene Dietrich's introduction to America as well as her Svengali creator, Josef Von Sternberg. Excellently lensed by Lee Garmes the story lags in favor of promoting Dietrich's mystique.

Set in Austria in 1915, War widow Marie Kolivor (Dietrich) is forced to work the streets where the head of the Secret Service posing as a "john" feels she might make the perfect spy for outing traitors. She pulls off her first assignment with aplomb before aiming higher with another traitor Colonel Kranau (Victor McLaglen).

Von Sternberg's obsession with Dietrich is evident from start to finish as scenes lag in order to promote her confident erotic strong points. Garmes captures the elegant bedroom eyed Marlene perfectly in a variety of elaborate costume, but it works against the flow of the story as Von Sternberg continuously pauses to be in awe of his Trilby.

Dated, but still a good looker and a must for Dietrich fans.

Magic!

[nandoferrer · 10/10 · 9 December 2009]

'Dishonoured' comes off to me as perhaps one of my favourite among Von Sternberg/Dietrich's movies together, his style and treatment of black and white shading adding enormously to the film's whole atmosphere and cinematography.It also encompasses the continuous creation of Dietrich's movie 'persona' around this time,the femme fatale who apparently betrays everything but her final, ultimate love, paying the price for it with her own life. The film also shows Dietrich or the director's increasing concern with her own image and the result is so irresistible one can't avoid thinking of it as a masterpiece.Dietrich also transforms herself into something quite different, a plain waitress, almost unrecognizable, showing how through image and acting talent something like that could be achieved in the 30s, once again reminding us how Dietrich was such an incredible actress when it was allowed or wanted. Dietrich's final scenes, after the character's detention and sentencing, are unforgettable as is the cinematography and direction of the movie by Von Sternberg.The scenes leading to the execution scene and the final execution scene itself are unforgettable and leave a lingering effect of sadness and melancholy after the word The End appears on screen. The film's beauty is furthered by the exceptional musical score, and as Dietrich courageously faces the execution platoon arranging herself and retouching her make up the simultaneous surrealism and reality of the scene is a true example of the director and actress's talents and pure magic.

Von Sternberg reveals as Dietrich evolves

[mc-86 · 9/10 · 12 July 2005]

Dishonoured is an under-appreciated masterpiece. Frequently omitted from lists of collaborations between Dietrich and Von Sternberg, the film is absolutely essential to an understanding of the director's artistic technique and the actor's evolution into her status as an icon for every subsequent femme fatale. Von Sternberg applies a rich sequence of layers of style and character that embellish Dietrich's icily stunning allure as an intelligent woman engaged in a deadly quest for more temporal power in the form of top secret military intelligence and empowerment over the men she manipulates. Along the way, his penetrating interpretation of social conventions depicts a chiaroscuro of surrealistic fantasy in contrast with the gritty reality of doom that engulfs his heroine who is ultimately transformed into a martyr to her own - and universal - femininity.

In film style IS substance

[Perception_de_Ambiguity · 8/10 · 23 April 2011]

Sternberg here doesn't even bother to hide his "not giving a flying f... about story and characters" attitude, it's almost admirable, really. There are plot gaps throughout the film that the viewer is just supposed to accept. Characters have no past and not more than one goal + one desire. For most characters the desire comes in the shape of Marlene's character and indulging in that desire certainly never benefits their reaching of the goal. What's stronger, their desire or their discipline when it comes to reaching their goal? Well, this changes from scene to scene and from character to character.

Sternberg fails miserably in making an unengaging film, he engages through style. His films shouldn't be exciting but I find them to be just that. The sets here are a lot less imposing than they are in 'Shanghai Express' and in 'The Scarlet Empress' and the light and shadow play isn't nearly as prevalent. But just as in those movies the frame is pretty narrow and he instead crams those frames with a lot of detail. Somehow he can show a person standing in front of just a few meters of wall for the entirety of the scene and make the viewer visualize the rest of the location which no doubt does exist and surely is magnificent if only the cinematographer would choose to zoom out, just that he never does.

Marlene has a scene in which the glamorous Austrian hooker transforms into a simple-minded Russian lower class cleaning woman in which not only her appearance but also her whole being changes drastically, it's quite impressive. And has any filmmaker ever used this many superimpositions? He knew how to use them, too, superimpositions being an essential part of his storytelling.

Good production values but an unbelievable script

[psteier · 5/10 · 23 June 2001]

Mainly of interest who want to see more of Josef von Sternberg and the kind of movies he was involved in. Marlene Dietrich has her moments but cannot carry the whole movie. Of course, she is cute and seductive, especially when spying as a maid behind the Russian lines, but the whole movie does seem far from reality.

Glorious

[ceichler · 5 January 2002]

Never saw this Dietrich film before. It is wonderful, considering that it was made 41 years ago. Two sequences stand out--- the party sequence (catch the costume in all the splendor black and white can provide) and the hilarious Dietrich/peasant scene. I couldn't believe it was Marlene at first. This film is a small gem!

One of Dietrich's first American films...and she's lovely in it.

[planktonrules · 8/10 · 27 July 2020]

"Dishonored" is one of Marlene Dietrich's earliest American-made films (done right after her first, "Morocco"). And, because it was early, she looked like she was in a transitional phase in her appearance. She was a bit more glamorous than she'd been in "The Blue Angel" but hadn't yet obtained the familiar and more blonde and extremely made-up appearance she'd soon adopt. It's a shame, really, as I think in "Dishonored" she was her loveliest...much more human and realistic looking. But that's neither here nor there....so on to the movie.

Marlene's most familiar early director, Josef von Sternberg, helmed this film. It finds lovely Marie (Dietrich) recruited for the Austrian secret service by a mysterious visitor (Gustav von Seyffertitz). He knows she loves her Austria-Hungary and lost her husband in the war...and wants her to spy for the country. She agrees and becomes a real seductress (much more realistic than Garbo in "Mata Hari"). What's to come of her and the men in her life--such as Sydney Toler and Victor McLaglen? See the film and find out for yourself!

This film is one of quite a few made in the States in the early to mid-1930s where the once hated enemy from WWI was seen now in a far more positive light. This is because by the 1930s, the American public's attitude about the war and why it occurred had changed. No longer were Germans and Austrians seen as the subhumans they were described as during the war and they were just seen as victims like everyone else. Try watching "All Quiet on the Western Front" or "Ever in My Heart" and you'll see the change as well.

So is it any good? Well, it certainly is a pretty film, which is no surprise considering von Sternberg directed the film. He did a great job in making Dietrich look good...and the studio pulled out the stops when it came to sets and costumes. The casting is good and bad. Dietrich and von Seyffertitz were excellent choices, as their German accents were pretty close to Austrian. As for her beau, however, I have no idea why McLaglen was cast as a Russian spy! He just seemed wrong for this part and would have been better cast as a Brit or Irishman.

As far as the rest of the movie goes, it's good though Marie's actions in the movie regarding her Russian friend....well, that makes little sense to me. It's still a good film...but flawed because of this.



By the way, I thought there was a mistake in the film. At one point, they play the Austria-Hungarian national anthem and it was the German national Anthem ('Deutschland über Alles'). But when I checked, apparently BOTH countries used the same tune by Hyden....but with different lyrics. The Austria-Hungarian version was called 'Gott erhalte Franz den Kaiser'. I found this interesting.

When love isn't such a good idea

[AAdaSC · 8/10 · 4 March 2019]

The Austrians and Russians are at war and streetwalker Marlene Dietrich (X-27) is recruited as a spy on behalf of the Austrians. She is given assignments to complete and gets involved in a long-standing rivalry with Russian Colonel/Austrian traitor Victor McLaglen (Kranau). They are both out to get one another but they are also attracted to each other. It's duty first, I'm afraid, or things won't turn out well.

It's a spy story that invites comparison to the previous year's Mata Hari starring Greta Garbo. I prefer this film. The end sequence is far more memorable and effective. Dietrich is a top film star - no doubt about that. The sound quality isn't too good to start off with. It's as if they have cleared away the fuzzing noise when there is dialogue spoken but not bothered during periods of no dialogue. I think that's sloppy. Do the whole film, lazy arses! Speaking of body parts, check out the name of the actor who plays the spymaster - Gustav von Seyffertitz. That's Mr Safer Tits. Ha ha.