Joseph Von Sternberg’s, The Blonde Venus (1932), was ultimately a collaboration of opposing visions coming together to create a contradicting film. My initial reaction to the film was that it was entertaining in a folksy way. Dietrich fulfilled her role as a beautiful night club performer but essentially was unconvincing as anything else. In the Jacobs article she touches on that fact saying, Helen isn’t necessarily the Blonde Venus but that Dietrich is, implying discontinuity within the character of Helen. That observation along with commentary about the editing conflicts between the director, an industry censor and the film’s producer shined light on why the film left me lost and a bit unsatisfied. Trying to force three completely different directions to go one way does not work and this film was definitely an example of this disharmony.

On a personal note, I love the glamor shots and opening of the movie.  The imagery and camera edits of the opening are aesthetically incredible.