Blonde Venus

Movie Information

Blonde Venus will be shown Saturday, Aug. 22, as the final in a series of four films being screened Saturday nights at dark in Pritchard Park. Presented by the Alvy Fund and the Friends of Pritchard Park, in association with the Hendersonville Film Society. Film historian Chip Kaufmann will introduce the film. All the films in the series were made in 1932, the year the park opened.
Genre: Drama With Music
Director: Josef von Sternberg
Starring: Marlene Dietrich, Herbert Marshall, Cary Grant, Dickie Moore, Rita La Roy, Robert Emmett O'Connor
Rated: NR

No, Blonde Venus (1932) isn’t the best of the series of movies that Josef von Sternberg made with Marlene Dietrich between 1930 and 1935. That would probably be Shanghai Express (also 1932). Blonde Venus, however, is probably the most iconic. It’s the one where Dietrich dresses up in a gorilla suit, strips off the suit, puts on a blonde Afro and sings “Hot Voodoo.” It’s where she puts on blindingly white (or platinum blonde perhaps) white-tie-and-tails and warbles “You Little So and So.” It’s the movie Bernardo Bertolucci used a clip from in The Dreamers (2003) as a symbol of the kind of cinema obsessions found among young cineastes in the late 1960s. Blonde Venus is classic Hollywood and classic Sternberg at their most preposterously outageous—and at their most glorious.

The story—thrown together by Sternberg because he liked nothing the studio had—is a ridiculous mishmash of elements from Sternberg’s childhood wrapped around a drama of self-sacrifice, mother-love, sin, guilt and redemption. Following an opening (set to Mendelssohn’s Midsummer Night’s Dream) in the Black Forest where Dietrich—as a skinny-dipping actress—is wooed and won by Herbert Marshall, the movie goes all domestic with the pair getting married and living with their little boy (Dickie Moore) in a crummy apartment (well, Hollywood crummy anyway). Tragedy strikes when research chemist Marshall contracts radium poisoning, causing Dietrich to go back onstage and then make the ultimate sacrifice of becoming Cary Grant’s mistress (yes, as sacrifices go, this doesn’t seem like much) to pay for curing her husband. Naturally, Marshall takes this the wrong way. Much engaging melodrama ensues—as does a lot of amazing filmmaking of the obsessive kind.

About Ken Hanke
Head film critic for Mountain Xpress from December 2000 until his death in June 2016. Author of books "Ken Russell's Films," "Charlie Chan at the Movies," "A Critical Guide to Horror Film Series," "Tim Burton: An Unauthorized Biography of the Filmmaker."

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