The road to international fame was a long and arduous journey for Jeanne Moreau but it all began in 1948 when she became a stage actress at age 18. She started appearing in films a year later though it wasn’t until 1958 that she emerged as an important French actress, thanks to two Louis Malle features, the noir thriller Elevator to the Gallows and the scandalous romantic drama, The Lovers. More famous career-defining roles followed such as Michelangelo Antonioni’s La Notte (1961), Francois Truffaut’s Jules and Jim (1962), Jacques Demy’s Bay of Angels (1963) and Luis Bunuel’s Diary of a Chambermaid (1964). Yet, in terms of global recognition, she probably reached her peak in the mid-sixties when she appeared in big-budget Hollywood productions like The Victors (1963), The Train (1964) and The Yellow Rolls-Royce (1964). It was during this period that she appeared in Mata Hari, Agent H21 aka Secret Agent FX18 (1964), one of her least known and rarely seen movies.Continue reading
Here’s a rarely seen Pre-Code curiosity made during the early period of Marlene Dietrich’s career at Paramount, The Song of Songs (1933). It is usually overlooked amid the Josef von Sternberg collaborations that made her famous such as The Blue Angel (1930), Morocco (1930) and Shanghai Express (1932), yet, it provides a fascinating look at Dietrich under a different director (Rouben Mamoulian) as well as a departure from her usual persona as a vamp or prostitute (at least in the beginning). The film is also generously seasoned with romance, decadence, melodrama, earthy humor, some musical numbers and a disaster – there is a fire in the final act.
Every amateur detective has his own approach to crime solving but Mary Lee Ling consults the stars and birth dates to narrow down the list of suspects. When Were You Born? (1938) has a terrific premise for a detective thriller and was quite unusual in its day. Its offbeat approach to the genre is further enhanced by the casting of Anna May Wong in the central role of an astrologist whose connection to a murder victim implicates her in the police investigation. Continue reading
When The Scarlet Empress (1934), Josef von Sternberg’s lavish historical epic starring Marlene Dietrich as Catherine the Great, proved to be a critical and commercial disaster for Paramount, the director realized his days were numbered at the studio. So why not go for broke in one last picture? The result was The Devil is a Woman (1935). Continue reading