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Alec B @Alec97 01/10/2024 Iconic musical numbers aside this is a lesser Dietrich/Sternberg collaboration. Censorship of the time appears to have muddled the screenplay's themes. See more steve d @RT35616104 01/09/2023 One of Grant's worst. See more georgan g @RT98616417 11/29/2021 Maybe it's the difference in era, but I don't like films where the woman is always in the wrong. It's the double standard. Neither man is good for her but Dietrich is the "perfect" mother and does what's best -supposedly- for the child. See more 02/15/2021 Iconic musical numbers aside this is a lesser Dietrich/Sternberg collaboration. Censorship of the time appears to have muddled the screenplay's themes. See more 02/12/2021 It's all rather trashy, with Dietrich's Helen riding a see-saw of being rich and being poor and being rich and being poor, all the while looking great, carrying on torrid affairs, and detaching from everything but her boy. Only Dietrich could manage to make such a willfully self-destructive character as sympathetic a figure as she is. Although in many ways she's arrived at this point through her own series of bad choices, by the time her husband demands their son back, it's he who strikes the viewer as the problem. This in itself is a pretty remarkable feat for both the filmmaker and particularly the actress. All the while, von Sternberg continues to craft a bigger and more expansive sensory world for her to have her way with. And, though some of the sharp edges of their past films have been filed down this time, Dietrich does indeed have her way with it. See more david f @dfulmer 12/15/2020 A couple of excellent Marlene Dietrich music numbers enliven this racy soap opera fairy tale. See more Read all reviews

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