This film is known for marking the start of the historical Dietrich-Sternberg collaboration, and also being one of the first German films to employ sound. But, this film provides more than just these two milestones.
Lola and Rath are two drastically different characters. Rath embodies austerity while Lola epitomizes liberation. The narration follows the authoritative Rath down his path of self-destruction. The film begins with Rath catching his students looking at risqué photos of Lola Lola, the headliner at the local cabaret The Blue Angel. Rath then goes to the club, in attempt to stop them in the act. Much to his demise, there he meets Lola, the infatuation begins, and his integrity crumbles.
Many look at this film as an allegory for the state of Germany before the first World War – Rath symbolizing Germany’s peremptory disposition and Lola representing the countering force. Rath’s downfall, then, would represent Germany’s ruin. Whether or not this was Sternberg’s intention, The Blue Angel captures the sentiment of the time and the downtroddeness that defeat yields.
Cinematically the dark shadows render a sinister effect, and the characters always seem at the edge of danger. Lola personifies this mood. She embodies a dark exoticism not seen in prior films, an unbridled sexuality not present prior in the cinematic world. Her sexuality, however, is not what makes Lola a compelling character; it is her inaccessibility. She possesses both masculine and feminine traits, passivity and muscle, and her fluctuation between these traits give her power and depth. This energy inspired the femme fatales of the later film noir movement.
Looming danger, sexuality, cultural revival, and the emancipation of women were prevalent in the Weimar Republic, and this film provides a window into the condition of the German state.
This film’s significance, however, does not solely lie in its historical context. It is also an examination of the human psyche. Stemberg uses the relationship between Rath and Lola, and their fluctuating dependence on themselves and society, to question man’s self-reliance. Ultimately he questions whether or not satisfaction can be derived from others, and from the self.
Although this film possesses many cinematographic conventions of the time it still holds poignancy. Stemberg’s use of imagery, jest, and character interplay provide a palpable gateway to the past and a connection to the current cinema
Ella Coon
Film Club Co-President
