Brilliant director creator of Dietrich's mystique
There has never been a movie relationship like that
between director Josef von Sternberg and star
Marlene Dietrich. Sternberg made Dietrich everything
she was, and she was the first to admit it. Sha was a
phenomenon of the time matched only by Greta
Garbo.
The pair made seven films together between 1930
and 1 935. The first was the immortal 777 Blue Angel,
and it was followed by such other beautiful, bizarre
classics as Morocco (1930), Shanghai Express (1932)
and the Scarlett Empress (1934). One of the two
a German director. He was born in Austria in 1894
and came to the U.S. at the age of seven. The Blue
Angel was his only German-produced film, and when
it was finished, he returned with his new star to
America.
Sternberg's brilliance with film came with
photography. He was, perhaps, the greatest developer
of lighting effects in cinema, and his pictorial
composition is rarely matched. His soft lighting and
use of weird costumes and decor all helped created
the femme fatale Dietrich image.
Sternberg films featured this weekend in the Sheldon
. . . , nt - I . MA11I "
Art Gallery Mlm beries is tsionae venus yiuoti, ine
fifth of their films together.
Blonde Venus is a shadowy, back-street movie of a
woman (Dietrich) on the run from her husband
(Herbert Marshall), who tries to support her child.
After a struggle with poverty, she becomes a
successful nightclub singer.
Dietrich was the only actress of the time who
could get away with wearing a white top hat, siacks
and tails, as she did in one of her Blonde Venus
numbers. Her famous "Hot Voodoo" scene also is in
the movie; it is a perfect example of Sternberg's
exotic eroticism.
Contrary to what many believe, Sternberg was not
area lukow
cei? rip
After Sternberg directed Dietrich for the last time
in The Devil is a Woman (1935), he endured nearly
20 years of frustrated filmmaking. Only occasionally
was his craft allowed to show through as he put up
with several films that he admits he never had his
heart in.
His last film was Saga of Anatahan (1953), the
second of the Sternberg features to be shown at
Sheldon this weekend. Filmed in Japan, it is the story
of a small group of Japanese soldiers stranded on a
desolate Pacific island, unaware that World War II has
been over for years. In filming it, Sternberg had the
inost freedom from Hollywood restraints since his
first experimental film in 1925. His narration adds
another dimension to the film and makes it, perhaps,
his most personal movie.
Many movie critics agree that between 1925 and
1935, Sternberg was the greatest film director in the
world. The sour looking man with the Oriental
moustache, silk dressing gown and riding boots was
one of the few directors of his time to get his name
up with the stars.
He always considered himself an artist, not a
movie maker, but his films proclaim his firm grasp on
both titles. In some ways he was a towering influence. ,
He created the gangster-as-social-hero genre with
silent masterpieces like Underworld and the Docks of
New York. But he also was the one who took a
second rate German actress and created a unique film
mystique around her, the likes of which have not
been seen since.
Essence,
energy
captured
on album
By Diane Wanek
Between Nothingness and
fe77fK-Mahavishnu Orchestra-Columbia
Anyone who has seen the Mahavishnu
Orchestra live would agree that what it
creates in its music is not evident on
studio recordings. The dynamic energy
and incredible production only can be
experienced by seeing live.
It's unfortunate, then, that no one will
see the orchestra as a group again, since it
has disbanded. But much of its essence is
captured on its new live recording,
Between Nothingness and E ternity.
The album contains oniy three cuts,
which might make one wary. Contrary to
Ken Emerson's review in Rolling Stone,
John McLaughlin's music does progress
and develop, as does the music of the
other orchestra members. There is not a
wasted note on the album; every musical
device used is necessary. The result is
tight music.
stick it in your ear
The abilities, even genius, of each
group member have been expounded
upon before; suffice it to say they are ail
playing up to par on this album.
The reason given for the Mahavishnu
Orchestra breakup is clashing of egos. But
at least we have left a group of
masterfully executed recordings made by
possibly the most influential jazzrock
group in music.
At Work in Europe-Ben Webster-Prestige
It was unfortunate for American jazz
audiophiles that Ben Webster chose to
live the last 10 years of his life in Europe,
away from the mainstream of jazz. If it
weren't for old Duke Ellington
recordings, many of us might not know
him.
This double-disc release should help to
acquaint many with his fine work.
Recorded in 1969, it proves he had not
lost his remarkable abilities.
In spite of poor back-up, Webster
shines through. ,
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page 6
.. daily nebraskan
thursday, fcbruary 21, 1974
