Críticas da Época

Excerto da critica de C. Hooper Trask publicada na revista Variety a 22 de Abril de 1930 (Os excertos aqui reproduzidos foram retirados de “Blue Angel Pressback”, um documento disponível em "www. Kino.com") .

“Erich Pommer’s idea of engaging Sternberg to direct Jannings’ first starring vehicle for the UFA proved an astute calculation. It will unquestionably do splendidly in the whole of Europe and should also appeal strongly in the States. On top of the drawing power of Jannings comes the discovery of a new magnet, Marlene Dietrich who should be as much to the American taste as to that of the Continent. To date the picture has been breaking all records at the Gloria Palast even those lately made by “Love Waltz.” (...) Sternberg has in this picture done what is probably his best work since “Underworld.” He caught the atmosphere of the sailors’ dive with utmost precision. Kurt Gerron and Rosa Valetti as a hard-boiled conjuror and old comedienne are perfect in their role of rather sardonic comic relief. Marlene Dietrich as Lola has a slow rhythmed sensuality which gets over without being in anyway crude or offensive. Foregone that Jannings would be able to get inside the school teacher, but Sternberg deserves credit for keeping him simple and not allowing him to overact—a great danger for this player whose face is perhaps the most expressive on the screen (...)"

Excertos da critica original do New York Times, “The Screen” de Mordaunt Hall, 2 de Dezembro de 1930

“Mr Jannings e Miss Dietrich”

“In a film tragedy titled “The Blue Angel,” which was directed by Josef von Sternberg in Berlin

for Ufa, that talented German screen player Emil Jannings, who left Hollywood because of the vocalizing of pictures, makes his first appearance in a talking production. Marlene Dietrich, the attractive Teutonic actress who is to be seen at the Rivoli in Mr. Sternberg’s “Morocco,” shares honors with Mr. Jannings in this foreign work. (...) The fall from grace of an elderly man is a favorite theme with Mr. Jannings, one that has served him in most of his films since the making of “The Last Laugh.” (...) As an actor who speaks his lines, Mr. Jannings is perhaps even better than he was in his mute productions, for the speech to a great extent governs his actions and it stays him from his penchant for unnaturally slow movements. (...) it is a decidedly interesting picture with exceptionally fine performances contributed by Mr. Jannings and Miss Dietrich (...)".

Olga Pombo:  opombo@fc.ul.pt