Blonde Venus (1932)

☆ ☆ ☆ ½

Blonde Venus (1932) – J. von Sternberg

Marlene Dietrich is bad again, as she often was for Josef von Sternberg.  This time, however, we see that she starts out good -- in a pre-code skinny-dipping scene where she meets future husband Herbert Marshall.  When Marshall grows ill with radiation poisoning (he is a chemist), she goes back to the stage from whence she came to raise money for his treatment in Europe.  But instead the money comes from millionaire Cary Grant who “occupies” her when Marshall is overseas.  And helps to take care of her son, Jonny, too.  Because yes, not only is Dietrich bad, but she is a bad mother, dragging Jonny all over the USA after Marshall returns early and finds her with Grant (who quickly departs for Europe).  With the police after her, and presumed prostitution the only way to raise any cash during the Depression, Dietrich is soon at the end of the road.  And then she is the jaded emotionless Dietrich dressed in white tails and top hat back in Paris crooning as we knew she would.  Until the ending which rings false (yes, Marshall takes her back).  Sternberg keeps things moving at a good clip but can’t help a bit of a jarring clash between the scenes with young Dickie Moore and the decadence and degradation found elsewhere (including the notorious “Hot Voodoo” number).