I must admit at the outset that I don't particularly like a style of film that was very popular in the 1920s and 30s--the "über-vamp" type of movie where a woman is so alluring and seductive that men fall at their feet--helpless! Both Marlene Dietrich and Greta Garbo became famous for such roles and frankly, they seem awfully silly in the 21st century. First off, no woman is THAT seductive. Second, with all the makeup and eyebrow plucking, if there WAS that type of woman, it certainly wouldn't look like either of these women! The bottom line is that this theme is one giant cliché and writing these films was pretty much "by-the-numbers" in most cases--in other words, it didn't require a whole lot of creativity or thought.

In this case, much of the story is told through flashbacks, as Lionel Atwill is trying to warn young Caesar Romero to stay away from Marlene. And, in these flashbacks, Ms. Dietrich does play an awful and totally selfish woman. But, at the same time, Atwill (and later, other male characters) plays the role of a weak and ineffectual man--more like a masochist in a sick relationship than a man. All this is meant to be very sensationalistic--I just thought it was all pretty silly.

If you MUST see this type of film, I suggest you see the Luis Buñuel film, THE OBSCURE OBJECT OF DESIRE--which is, in fact, a comedic takeoff on THE DEVIL IS A WOMAN. The overall plot is nearly identical but the film is played more for laughs and shock value--which is exactly how THE DEVIL IS A WOMAN should have been played! In other words, since the plot was so poor and old fashioned, lampooning it is probably the only thing to do with it! A silly film that is moderately interesting, but totally unbelievable and clichéd. It only merits a 6 because the production values are high and the actors do the best they can with this bilge.

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 (the weakest to me being 'Blonde Venus and that was still good).

Of which 'The Devil is a Woman' is one of their best, along with 'Shanghai Express' and 'The Scarlet Empress'. It does end on a bit of a curiously odd note and it's a tad over-stuffed in places. All that aside, 'The Devil is a Woman' to me was a great film with a huge amount to admire.

First and foremost, Dietrich. She was never more beautifully captured on film than in her collaborations with Sternberg and 'The Devil is a Woman' is not an exception. As with her previous films with him she looks luminous, not just lavishly made up and costumed but gorgeously photographed. As for her acting, once again she is fun to watch but also brings a vulnerability to her role which helps make the role a real character.

She is very well supported by Lionel Atwill, excelling in an atypical sympathetic leading role (more familiar with him as a supporting actor),and Cesar Romero's usual suave charm proves crucial in making the most of a character not quite as interesting as Dietrich's and Atwill's. Edward Everett Horton is hilarious. Sternberg's direction is as accomplished as ever.

Can always count on a Sternberg film to be visually beautiful, and 'The Devil is a Woman' 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.

Scripting is sophisticated and humorous, and the story is compelling and actually has more depth than one would think. The erotic, sensual atmosphere intoxicates too.

In summary, a devilishly good film, what a film to go out on for Dietrich and Sternberg. 9/10 Bethany Cox

The Devil Is A Woman marked the end of the director/player partnership of Josef Von Sternberg and Marlene Dietrich. I'd love to give the film a better review, but the results of this film show the team was played out in terms of creativity.

In terms of a plot Von Sternberg took one that was very familiar, a woman dragging a man to the depths of destruction, in fact a few men in this case. If it sounds familiar that's exactly what Marlene Dietrich was doing in The Blue Angel as the saucy sexpot entertainer Lola-Lola who humiliated and degraded Emil Jannings. Here she leads Lionel Atwill and young Cesar Romero in his very first role of substance and if you can believe it, Edward Everett Horton. You read that correctly.

At a carnival young Romero who is a Republican revolutionary in turn of the last century's Spain first makes some heavy eye contact with sexy Marlene. Later on he runs into former Spanish Army officer Lionel Atwill whom he asks about this ravishing creature.

Lionel spends the next several reels telling his sad story of how this woman was the ruin of his career. But does Romero heed Atwill's warnings? He does not, because the way Atwill tells it this woman might be the ultimate in sexual fantasy. He ought to know, Atwill's still fantasizing over here.

Naturally these guys are going to tangle and I'm not going to reveal how it does come out, in fact there is still some doubt as the film ends. Unlike The Blue Angel, The Devil Is A Woman descends into some real campiness and you just can't take it seriously after a while.

Joel McCrea was almost in this film. He was cast in the Cesar Romero part and after shooting a few scenes begged to be out of it. Then they actually hired a man of Hispanic heritage for one of the lead roles in a story set in Spain.

At one point Marlene has to charm Edward Everett Horton. Someone at Paramount had a sense of humor in casting that one. And can you believe Allison Skipworth gave birth to Marlene Dietrich. Again someone has a sense of humor.

Von Sternberg and Dietrich called it day after The Devil Is A Woman. The well had run pretty dry by then.