The Blue Angel 1930

As we embark on this cinematic journey, it’s essential to acknowledge that two distinct versions of the film were concurrently produced: an English-language rendition alongside its German counterpart. While the two variations share an uncanny similarity, there exist subtle disparities in the narrative. Given the timeless essence of the movie, our synopsis is centered around the original German version.

The film commences with a symphony of sounds emanating from a bustling marketplace – the gentle clucking of geese and chickens mingling with the morning atmosphere. A woman’s attention is piqued by a poster advertising Lola (Marlene Dietrich), prompting her to strike a pose reminiscent of the iconic performer. Meanwhile, Professor Immanuel Rath (Emil Jannings) prepares for his day, his reverie interrupted only by the ringing of a bell as rowdy schoolboys hasten to their classes. The caretaker of the professor’s residence tidies up the premises, playfully reminding him that it’s time for breakfast. As the Professor takes his seat and begins to savor his tea or coffee, he can’t help but whistle a tune – one that is met with silence, prompting him to investigate the source of his melody. His sorrowful discovery: the demise of his beloved bird.

This somber turn of events is jarringly juxtaposed by the housekeeper’s callous dismissal of the deceased bird, carelessly dumping it into an open boiler as she matter-of-factly remarks, “Anyway, he stopped singing long ago.” The Professor, seemingly undeterred by this bleak omen, proceeds with his morning routine.

As we transition to the professor’s classroom, we’re greeted by a group of boisterous boys gathered around a postcard, their attention divided between the visual representation and the boy who’s attempting to coax a reaction from it. One mischievous student slips into the background, pilfering the Professor’s notebook and subtly altering its contents to read “Prof. Garbage” – an amusing play on words in German that involves the addition of a single prefix. This clever prank is accompanied by a crude drawing of the Professor, which ultimately results in the pencil snapping under pressure.

As the Professor sets out for class, the stately chimes of a majestic clock resonate through the air, accompanied by an unlikely entourage of birds perched atop its statuesque figure. The sudden commotion is quickly silenced by a student’s urgent warning: “Watch out! The old man!” The classroom promptly settles back into order as the Professor takes his seat and, with a discreet flourish, produces a handkerchief to attend to his nasal necessities. His gaze, however, is soon drawn to the pages of his notebook, which have been vandalized by an unseen hand. With a keen sense of detective work, he zeros in on the likely culprit, Angst (Rolf Muller), and instructs him to erase the offending scribbles.

As the lesson proceeds, the Professor launches into a passage from Hamlet’s Act III, Scene 1 - the iconic “To be or not to be” soliloquy. He selects a student to recite a portion of the famous speech, only to interrupt him due to his imperfect pronunciation of English. Undeterred, the Professor attempts to drill the correct enunciation into the student’s mouth by strategically placing a pencil between his lips. Frustration eventually gets the better of him, and he assigns his students a paper exploring how the story of Julius Caesar would have unfolded if Mark Antony had not delivered his poignant eulogy.

Meanwhile, one student appears to be engaged in questionable behavior, but is actually ogling a tantalizing Lola postcard featuring a dress that can be blown open to reveal its hidden treasures. The Professor’s keen eye detects the deception and, with a stern warning, plucks the card from the student’s grasp, storing it safely in his own notebook. This development leaves the troublemakers seething with resentment, while Angst, the favored pupil, revels in the Professor’s discovery of the other boys’ misbehavior. The stage is thus set for a brewing confrontation between Angst and the group of mischief-makers.

As the bell rings, signaling the end of class, Angst’s cohorts lie in wait, their mischievous intentions set to unfold. With Angst departing from the classroom, they spring into action, tripping him and sending his books scattering across the floor. Amidst the chaos, a peculiar sight greets the Professor: Angst’s textbooks are adorned with images of Lola, prompting a stern rebuke. As tensions simmer, Angst insists the cards don’t belong to him, but the Professor remains unmoved, refusing to entertain the possibility of innocence.

In a surprising turn of events, Angst reveals that his classmates harbor a grudge against him due to his reluctance to join them at The Blue Angel, a cabaret featuring enchanting women who serenade with their voices rather than their bodies. The Professor’s curiosity is piqued by this revelation, and he sets out to uncover the truth.

At the cabaret, Lola takes center stage for the first time, her sultry voice captivating the audience. Meanwhile, Angst’s classmates lurk backstage, attempting to charm the enigmatic singer. Lola tantalizes them with flirtatious banter, but her affections remain reserved for a more substantial suitor – a true man of strength and character.

As the night wears on, Lola declares her intention to find this ideal partner tonight. The Professor enters the establishment, his eyes scanning the crowd for any sign of Angst’s students. But before he can spot them, Lola’s spotlight illuminates his back, drawing him into her performance.

The Professor is momentarily entranced by Lola’s mesmerizing gaze, but his attention is soon diverted as he spots one of his pupils attempting to flee. He gives chase, leading him on a wild goose chase through the backstage areas. As he searches for his student, he stumbles upon an unsettling tableau: a sad clown, its painted-on smile a poignant reminder of the fragility of joy.

The mood is briefly lifted by a larger-than-life woman, her eyes the only feature visible as she moves to the rhythm of Middle Eastern music. The atmosphere remains charged with anticipation, setting the stage for further revelations and unexpected encounters.

As the curtains parted on the backstage drama, Lola burst into the scene, her curiosity piqued by the stranger’s presence in her dressing room. After exchanging pleasantries, she began to shed her garments, revealing a tantalizing glimpse of what was to come. The Professor, seemingly taken aback by this sudden display of vulnerability, instinctively positioned himself as an unwitting “roadblock” to the ebb and flow of performers coming and going. Lola’s descent into her next costume was met with a sly smile as she playfully teased the Professor, who remained steadfast in his discomfort.

Meanwhile, the boisterous Magician Kiepert (Karl Gerron) made his grand entrance, commanding attention from the other performers with his booming voice. His protective instincts towards Lola were palpable until he discovered the esteemed Dr. Immanuel Rath’s credentials, at which point he endeavored to establish a connection with the Professor. However, this attempt at camaraderie was swiftly derailed when Kiepert demanded that Lola take the stage, donning a fake mustache as an ostentatious display of showmanship. The Professor, ever vigilant for any signs of impropriety, accused the Magician of coddling his students to an unacceptable degree, prompting him to hastily intervene and chase away one of his own pupils.

The following scene was a jarring departure from the rest of the film, plunging Angst into a world of chaos as he succumbed to a fitful slumber. Suddenly, shadows danced across the walls, and the sound of boys’ laughter turned to cruel jeers as they pummeled him with slaps. This vicious retaliation was a direct response to Angst’s earlier betrayal, having revealed the secrets of The Blue Angel to the Professor.

As the Professor made his way home, exhausted from the events of the day, he found himself haunted by Lola’s enigmatic smile and the mysterious presence of her undergarments in his jacket. It seemed as though she had left an indelible mark on his psyche, refusing to let him shake off the allure of their encounter.

The next morning, the Professor donned his coat, driven by a sense of duty to return Lola’s stolen garments. Upon arriving at her doorstep, he was met with a surprise – the students were hiding in the cellar, forced to flee from the scene of the Professor’s latest moral dilemma. As the two parties exchanged their respective items, Lola revealed a playful glint in her eye as she began to seduce the Professor, with the students watching from their clandestine vantage point, mesmerized by the unfolding drama.

As Lola weaves her intricate web of deception, she embarks on a tantalizing game of cat and mouse with the Professor. With calculated precision, she tends to his every need, from combing his hair to bathing him in an aura of admiration. But just as things begin to simmer, she deftly flips the script, bestowing upon him a gentle dusting of powder before reverting to her condescending caretaker persona. The Professor, oblivious to the subtle manipulation, is eventually coaxed into a state of vulnerability by Lola’s calculated machinations.

The Magician, ever the puppet master, orchestrates Lola’s next move, summoning her to mingle with a boisterous sailor bearing a bounty of cash. The sailor’s brutish behavior toward Lola only serves to galvanize the Professor’s ire, prompting him to chase the offending party off with a fierce determination. However, this act of defiance is short-lived, as the sailor returns in tow with the authorities, forcing the Magician to hastily conceal the Professor in the cellar.

As the Professor finds himself surrounded by his students, he emerges from the cellar, accompanied by an entourage of wide-eyed pupils. The aftermath of the altercation with the sailor is resolved when the police, swayed by the Professor’s sobriety and credibility, cart off the drunken sailor to the station. The Professor, his ire tempered by a sense of justice served, turns his attention to disciplining his students – but ultimately contents himself with merely chasing them off.

The Professor’s nerves are soothed with a libation or two, allowing him to succumb to Lola’s charms as she serenades him with a plaintive tune. The song’s lyrics, laced with prophetic undertones, foreshadow the tumult that is to come. As he stumbles back into her bedchamber the next morning, the Professor finds himself confronted by the sweet melody of a singing bird – a welcome respite from the trials of the previous day.

Lola’s breakfast preparations for the pair serve only as a precursor to the final phase of her intricate plan to ensnare her new love interest. The Professor, already running late for his classes, is brought up short by the school bells’ mournful tolling. A student’s artistic rendering of the Professor’s nocturnal escapades – featuring him as Cupid, enamored with Lola – serves only to further undermine his authority.

As the head of the school becomes aware of the Professor’s compromised reputation, the seeds of doubt are sown regarding Rath’s ability to effectively lead his institution. The stage is thus set for a reckoning, as the Professor must confront the consequences of his own actions and the Machiavellian machinations of Lola.

As the Professor’s heart overflows with emotion, he finds himself powerless against the allure of Lola’s presence, and so, he takes the bold step of proposing marriage to her, his sole intention being to keep her by his side. This impulsive decision is met with initial laughter from Lola, but ultimately yields a union between the two. The newlyweds celebrate their union with a joyous reception amidst the traveling troupe, complete with the whimsical flourish of magic as the Magician produces eggs from the Professor’s nose, sending the gathering into raptures. The couple’s mirth is short-lived, however, as Lola’s infectious clucking inspires the Professor to respond in kind, their awkward antics leaving little doubt that their relationship has taken a precarious turn.

As the early days of married life unfold, the Professor becomes increasingly uneasy about the postcards spilling from Lola’s suitcase, his objections growing more strident with each passing moment. Despite his protests, Lola insists on holding onto them, an act of defiance that ultimately proves prophetic. The Professor’s fortunes take a precipitous decline when he is forced to sell the very same postcards at a subsequent show, a humiliating experience that reduces him to a shadow of his former self. The once-respected educator now finds himself struggling to make ends meet, his ego bruised and his sense of identity in tatters.

As Lola’s star continues to rise within the troupe, she begins to treat the Professor with a growing detachment, her words stinging like a slap in the face. But even as he appears on the verge of collapse, the Professor finds himself inexplicably drawn back to Lola, his love for her an anchor that holds fast against the turbulent tides of their relationship.

The passage of time is marked by a series of poignant vignettes, each one etching a line across the calendar as the years tick by. As the Professor applies clown makeup and dons a wig in front of the mirror, it becomes clear that he has transformed into the very embodiment of the sad clown who first appeared on screen, his spirit crushed beneath the weight of disappointment and heartache. And yet, even in the depths of despair, the Professor remains steadfastly devoted to Lola, his love for her an unyielding flame that flickers in the darkness.

As the Professor meticulously prepares his attire, the enigmatic Magician bursts into the room, conveying a palpable sense of excitement and anticipation. With an air of nonchalance, he discloses that their next destination is the Professor’s hometown, where they will be performing at the esteemed Blue Angel theater - a venue renowned for its star-studded lineup, headlined by none other than the former professor turned clown. The Magician’s unbridled enthusiasm seems to be fueled by the sold-out show, which promises to be an unforgettable spectacle.

Upon arriving at the new venue, the troupe finds itself amidst a flurry of departing performers, as the Strongman, Mazeppa (Hans Albers), lingers behind, captivated by Lola’s presence. It becomes apparent that Mazeppa has fallen deeply in love with her, his affections unwavering despite his awareness of her marital status. Meanwhile, Lola appears to remain steadfastly devoted to her husband, a commitment she upholds amidst the Strongman’s obvious advances.

As the Professor’s momentous performance approaches, the Magician provides him with a series of subtle cues and encouragement, but Immanuel seems emotionally numb, lost in thought as he sits motionless. The Magician’s prodding has little effect on the Professor’s vacant expression, which remains unresponsive to even Mazeppa and Lola’s playful jibes as they stroll past him, poking fun at his disheveled state.

Just as the Professor appears poised to intervene or investigate the commotion above, he is thrust onto the stage by the Magician’s urging. In a shocking turn of events, Lola descends from the upper levels to force the cowering Professor into action, prompting him to take center stage alongside the Magician. The Clown-turned-Professor is then subjected to a humiliating ordeal at the hands of the Magician, who orchestrates a series of egg-filled pranks that culminate in a barrage of oozing eggs being dumped upon his head.

As Lola’s flirtations with Mazeppa backstage reach a fever pitch, the Professor’s mental state begins to unravel. He erupts into a fit of uncontrollable laughter, his cackles echoing through the theater as he becomes increasingly unhinged. In a chilling display of madness, the Professor’s behavior descends into chaos, prompting him to chase Lola with reckless abandon. It is only when Mazeppa and a group of intervening men finally subdue the Professor and wrap him in a strait-jacket that his frantic rampage comes to an end.

As the Magician’s soothing words finally penetrate the Professor’s frantic thoughts, he sets about freeing his colleague from the confines of the strait-jacket. With the crisis averted, the Magician offers to handle the aftermath, allowing the Professor to slip away unnoticed. Donning a coat and hat for disguise, the Professor makes a furtive exit, his footsteps muffled by the city’s night air.

The sound of Lola’s sultry voice, huskily delivering the iconic “falling in love again” tune, drifts out into the night, its intended recipient apparently a new beau. The Professor’s pace is measured but determined as he navigates the darkened streets, his thoughts consumed by memories of a bygone era.

Eventually, he finds himself standing before the hallowed halls of his alma mater, the very same institution that had once held such promise for him. With a sense of nostalgia washing over him, the Professor raises his hand to summon the bell-ringer, patiently waiting until the door swings open to admit him.

As if drawn by an unseen force, he stumbles back into his old classroom, the familiar scent of chalk and knowledge enveloping him like a warm embrace. The Professor’s legs give out beneath him, and with a sense of resignation, he collapses onto the worn wooden desk, mirroring the very same moment when he had first left these hallowed halls.

The person who had answered the door, now standing in the doorway, attempts to coax the Professor away from his desk, but their efforts are in vain. The room is bathed in a solitary spotlight’s gentle glow as the sound of distant bells tolls through the night air, a melancholy accompaniment to the Professor’s poignant reverie.