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Thursday, 11 June 2009

Shanghai Express
(1932)

Vicarious Intimacy

Grown up film about sexual relations, regret, anger, jealousy, passion, love and lust presented as stirring melodrama.

A mixed ethnic and national bag of characters boards the Shanghai Express traveling through the civil war torn China of the last century only to find themselves enmeshed in that very war. Solid human archetypes populate this delicious movie: World-weary fallen women, racists, sullen innamorati, loud-mouthed Americans & rude Germans.

The politics is neatly entwined with the love story and Marlene DIETRICH overwhelms the show. Not just because of her striking looks nor the fact that she is one of the greatest scene-stealers of them all nor because the camera loves her photogenicism but because the director, Josef von Sternberg, does.

As Von Sternberg’s cinematic muse, DIETRICH suggests far more about her sexuality - with her mobile face - than would have been allowed by many film censors in 1932. Von Sternberg’s camera practically makes love to her as he lovingly photographs and lights her as no other Hollywood glamor-puss ever was. This provides the audience with a vicarious sense of intimacy with her that is deeply unusual for Hollywood as well as deeply memorable.

The visual expressionism heightens the emotions on display here perfectly and beautifully: A masterpiece that shows what cinema can do at its best.


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