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 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

"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.