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《国际电影影片词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume 1 FILMS（E、F、G、H、I、J）

Hong Kong-China, 1991 Director: Zhang Yimou Production: Era International, Hong Kong, in association with China Film Co-production Corporation; colour, 35mm; running time: 125 minutes.

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DEUTSCHLAND IM HERBST FILMS. 4 EDITIoN Corrigan, Timothy, New German Cinema: The Displaced Image Although there is no real plot, the footage is sequenced around various themes: the role of the media and the importance of debate in Elsaesser,Thomas, Fassbinder's Germany: History, Identity, Sub- the public sphere, confronting the Nazi past, and the necessity to resist ject, Amsterdam, 1996 police brutality. At a time of official government news blackout, this acclaimed team of filmmakers offered a counter-history, an unofficial Articles. response to the official absence of reportage. The experimental montage of short fictionalized pieces even mimics the look of Hansen, Miriam, Cooperative Auteur Cinema and Oppositional television, with its collection of interviews, documentary, fiction, and Public Sphere, in New German Critique, no. 24-25, Fall/winter, autobiographical pieces. 1981-82 Several of the films sections explicitly address the theme of state Silberman. Marc. "'Introduction to germany in Autumn in Dis and media censorship and the lack of open debate. Other sections ourse. no 6. 1983 illustrate the political power wielded by those who control the media. The section by Schondorf and Heinrich Boll offers an ironic sketch Lacoue-Labarthe, Philippe, Rainer Werner Fassbinder, Jurgen of a contrived meeting of T v officials who ban the dramatic produc Habermas, and Heiner Muller, Germany in Autumn, in tion of Sophocles Antigone. The classic drama's portrayal of sibling Documenta X: The Book: Politics Poetics, edited by Catherine in defiance of the state is seen as advocating a pro-terrorist view too David and Jean-Francois Chevrier, Ostfildern, Germany 1997 analogous to recent events. This segments satirical yet pointed testament to the political power of the media demand a publIc s in which debate is encouraged and allowed. On a thematic level, several sections of Germany in Autumn Germany in Autumn is a politically engaged combination of addressed Germanys difficult recent history and the burden of the documentary, media footage, and fictional and autobiographical historical memory of the Third Reich. Kluge based his critically episodes that covers the emotional gamut from concern, to irony, to acclaimed feature film The Patriot on his short section about Gabi despair. A landmark film for the New German Cinema, this collabora- Teichert, a high school teacher intent on (literally) digging up Germany s past with a hand spade; in this film, however, the past is writers, songwriters, and poets protests the political oppression of not about the extermination of the European Jews in Europe, but West Germany in the late 1970s. The films nine vignettes document about the losses and deprivation of the immediate postwar period; that the rise of urban terrorism, police militancy, and the resurgence of is, it is about German suffering fascist tendencies in postwar Germany Fassbinder's 24 minute episode, the most personal and emotion- In the fall of 1977, Germany was almost a nation under siege by its ally charged of the sections, also addresses the weight of the past but own police, security, and military forces. The headlines told of a plan from a different perspective: he confronts the effects of the generational jacking and the kidnapping and subsequent murder of German conflict between parents and children. In a staged but highly convinc- industrialist Hans-Martin Schleyer. Schleyer's kidnappers, the Baade ing and seemingly realistic interview with his mother, he elicits the linhof group, were a left-wing terrorist offshoot of the notorious statement from her that what Germany needs today is another Red army Faction(RAF). Schleyer had been kidnapped in an effort persed with this interview, spectators to negotiate the release of the RAF's most prominent members, witness the historical transmission of violence on a domestic, private level. Fassbinder alternately abuses, rejects, caresses, and rants with Andreas Baader, Gudrun Enslin, and Karl Raspe, who had been his lover in a dark claustrophobic apartment filled with booze, drugs, imprisoned for terrorist acts. After the failed kidnapping effort and misery The message seems to be that history is accountable for resulted in Schleyer's murder, the leaders of the RaF were found dead in Stammheim, a maximum security federal prison. The susp interpersonal problems as well as political and governmental ones. Germany in Autumn is also about collective mourning. Funeral cious circumstances of their deaths led many to conclude that they scenes frame the various episodes; indeed, the opening and closing of were murdered by the state, although officials declared and stil the film documents the funeral of Hans Martin Schleyer as well as the maintain otherwise. In any case, the treatment of the Baader-Meinhof burial of the Red Army leaders. Lastly, the film explores the fine line group confirmed the fears of the political left that the state was willing between patriotism and nationalism. The film uses the national to use extreme violence to silence its critics anthem as an ironic leitmotif, underlining the filmmakers distrust of With these events as its historical backdrop, the film takes on three the government as a result of police brutality directed at so-called urgent tasks for the postwar generation: a protest against censorship leftist sympathizers. The rich texture of the images and the densely and political repression; a confrontation with the persistence layered scenes of Germany in Autumn skillfully merge the terrorism fascism reflected in current events; and facing their parents' lack of of the present with the fascist totalitarianism of the past. The film countability for the Nazi period. The films sections address these remains both an artistic achievement and a statement of the political ssues from various perspectives and diverse styles, and are marked efficacy of film-making by the signature styles of their directors. One sees the overall influence of Alexander Kluge, who together with Beate Mainka Jill Gillespie Jellinghaus edited the nine hours of material into a 134 minute film. According to Kluge-social theorist, filmmaker, author, and one of the most prominent directors of New German Cinema-the contradictions in the film "belong to one nation: only if the contradic DEVIL IN THE FLESH tions are together, can one accept this history and understand See Le diable au corps 316

DEUTSCHLAND IM HERBST FILMS, 4th EDITION 316 Corrigan, Timothy, New German Cinema: The Displaced Image, Bloomington, Indiana, 1994. Elsaesser, Thomas, Fassbinder’s Germany: History, Identity, Subject, Amsterdam, 1996. Articles: Hansen, Miriam, ‘‘Cooperative Auteur Cinema and Oppositional Public Sphere,’’ in New German Critique, no. 24–25, Fall/Winter, 1981–82. Silberman, Marc, ‘‘Introduction to Germany in Autumn,’’ in Discourse, no. 6, 1983. Lacoue-Labarthe, Philippe, Rainer Werner Fassbinder, Jurgen Habermas, and Heiner Muller, ‘‘Germany in Autumn,’’ in Documenta X: The Book: Politics Poetics, edited by Catherine David and Jean-Francois Chevrier, Ostfildern, Germany1997. *** Germany in Autumn is a politically engaged combination of documentary, media footage, and fictional and autobiographical episodes that covers the emotional gamut from concern, to irony, to despair. A landmark film for the New German Cinema, this collaborative effort between nine acclaimed directors and several prominent writers, songwriters, and poets protests the political oppression of West Germany in the late 1970s. The film’s nine vignettes document the rise of urban terrorism, police militancy, and the resurgence of fascist tendencies in postwar Germany. In the fall of 1977, Germany was almost a nation under siege by its own police, security, and military forces. The headlines told of a plane hijacking and the kidnapping and subsequent murder of German industrialist Hans-Martin Schleyer. Schleyer’s kidnappers, the BaaderMeinhof group, were a left-wing terrorist offshoot of the notorious Red Army Faction (RAF). Schleyer had been kidnapped in an effort to negotiate the release of the RAF’s most prominent members, Andreas Baader, Gudrun Enslin, and Karl Raspe, who had been imprisoned for terrorist acts. After the failed kidnapping effort resulted in Schleyer’s murder, the leaders of the RAF were found dead in Stammheim, a maximum security federal prison. The suspicious circumstances of their deaths led many to conclude that they were murdered by the state, although officials declared and still maintain otherwise. In any case, the treatment of the Baader-Meinhof group confirmed the fears of the political left that the state was willing to use extreme violence to silence its critics. With these events as its historical backdrop, the film takes on three urgent tasks for the postwar generation: a protest against censorship and political repression; a confrontation with the persistence of fascism reflected in current events; and facing their parents’ lack of accountability for the Nazi period. The films sections address these issues from various perspectives and diverse styles, and are marked by the signature styles of their directors. One sees the overall influence of Alexander Kluge, who together with Beate MainkaJellinghaus edited the nine hours of material into a 134 minute film. According to Kluge—social theorist, filmmaker, author, and one of the most prominent directors of New German Cinema—the contradictions in the film ‘‘belong to one nation: only if the contradictions are together, can one accept this history and understand it.’’ Although there is no real plot, the footage is sequenced around various themes: the role of the media and the importance of debate in the public sphere, confronting the Nazi past, and the necessity to resist police brutality. At a time of official government news blackout, this acclaimed team of filmmakers offered a counter-history, an unofficial response to the official absence of reportage. The experimental montage of short fictionalized pieces even mimics the look of television, with its collection of interviews, documentary, fiction, and autobiographical pieces. Several of the film’s sections explicitly address the theme of state and media censorship and the lack of open debate. Other sections illustrate the political power wielded by those who control the media. The section by Schlöndorf and Heinrich Böll offers an ironic sketch of a contrived meeting of TV officials who ban the dramatic production of Sophocle’s Antigone. The classic drama’s portrayal of siblings in defiance of the state is seen as advocating a pro-terrorist view too analogous to recent events. This segment’s satirical yet pointed testament to the political power of the media demands a public sphere in which debate is encouraged and allowed. On a thematic level, several sections of Germany in Autumn addressed Germany’s difficult recent history and the burden of the historical memory of the Third Reich. Kluge based his critically acclaimed feature film The Patriot on his short section about Gabi Teichert, a high school teacher intent on (literally) digging up Germany’s past with a hand spade; in this film, however, the past is not about the extermination of the European Jews in Europe, but about the losses and deprivation of the immediate postwar period; that is, it is about German suffering. Fassbinder’s 24 minute episode, the most personal and emotionally charged of the sections, also addresses the weight of the past but from a different perspective: he confronts the effects of the generational conflict between parents and children. In a staged but highly convincing and seemingly realistic interview with his mother, he elicits the statement from her that what Germany needs today is another ‘‘benevolent dictator.’’ Interspersed with this interview, spectators witness the historical transmission of violence on a domestic, private level. Fassbinder alternately abuses, rejects, caresses, and rants with his lover in a dark claustrophobic apartment filled with booze, drugs, and misery. The message seems to be that history is accountable for interpersonal problems as well as political and governmental ones. Germany in Autumn is also about collective mourning. Funeral scenes frame the various episodes; indeed, the opening and closing of the film documents the funeral of Hans Martin Schleyer as well as the burial of the Red Army leaders. Lastly, the film explores the fine line between patriotism and nationalism. The film uses the national anthem as an ironic leitmotif, underlining the filmmaker’s distrust of the government as a result of police brutality directed at so-called leftist sympathizers. The rich texture of the images and the densely layered scenes of Germany in Autumn skillfully merge the terrorism of the present with the fascist totalitarianism of the past. The film remains both an artistic achievement and a statement of the political efficacy of film-making. —Jill Gillespie DEVIL IN THE FLESH See LE DIABLE AU CORPS

FILMS. 4th EDItION THE DEVIL IS A WOMAN THE DEVIL IS A WOMAN Baxter, Peter, Just Watch. Stemberg Paramount and America London. 1993 Bogdanovich, Peter, Who the Devil Made It, New York, 1997 USA,1935 Director: josef von sternberg Articles. New York Times, 4 May 1935 Production: Paramount Pictures; black and white, 35mm; running variery(New York), 8 May 1935 time: 80 minutes. some sources list 82 minutes. Released 1935 Filmed in Paramount studios "Creative Film Director, in Cue(New York), 14 December 1935 Dekobra, Maurice, ""Comment Marlene Dietrich est devenue star Screenplay: Josef von Sternberg, adapted by John Dos Passos and n Cinemonde(Paris), 16 April 1939 S. K. Winston, from the novel The Woman and the Puppet by pierre Knight, Arthur, "Marlene Dietrich, in Films in Review(New York). Louys: photography: Josef von Sternberg and Lucien Ballard December 1954 production designer: Hans Dreier; music and lyrics: Ralph Rainger Weinberg, Herman G, The Lost Films: Part 1, in Sight and Sound and Leo robin (London), August 1962 Weinberg, Herman G,"Josef von Sternberg, in Film Heritage Dietrich (Concha Perez): Cesar Romero(Antonio Atwill(Don Pasqual); Edward Everett Horton(Don Green, 0. o." Six Films of Josef von Stemberg, "in Movie(Lon- Skipworth(Seniora Perez): Don Alvarado(Morenito); don), Summer 1965 Morgan Wallace(Dr. Mendez); Tempe Pigott(Tuerta): Jil Dennett Higham, Charles, ""Dietrich in Sydney, "in Sight and Sound(Lon (Maria): Lawrence Grant(Conductor) on ), winter 1965-66 Eisenschitz, Bernard, ""L'Oeuvre de Josef von Sternberg in Avant- Scene du Cinema(Paris), March 1966 Publications Positif(Paris), May 1966. Bowser, Ellen, and Richard Griffith, in Film Notes, edited by Bowser New York, 1969 Books Martineau, Barbara, Thoughts on the Objectification of Women, Harrington, Curtis, An Index to the Films of Josef von Sternberg, in Take One(Montreal), November-December 1970 Flinn, Tom, "Joe, Where Are You? in Velvet Light Trap(Madison, Wisconsin), Fall 1972 Griffith, Richard, Marlene Dietrich-Image and Legend, New Rheuban, Joyce, Josef von Sternberg: The Scientist and the Vamp, York, 1959. Von Sternberg, Josef, Fun in a Chinese Laundry, New York, 1965 Sight and Sound (london), Autumn 1973. Sarris, Andrew, The Films of Josef von Stemberg, New York, 1966 Magny, Joel, in Telecine(Paris), November 1976. Josef von Sternberg: Dokumentation: Eine Darstellung, Mann- Baxter, P, ""On the Naked Thighs of Miss Dietrich, in Wide angle heim. 1966 Baltimore), vol 2, no 2, 1978. Weinberg, Herman G, Josef von Sternberg Paris, 1966; as Josef von Combs, Richard, in Monthly Film Bulletin(London), May 1978 Sternberg: A Critical Study, New York, 1967 Tessier, Max, in Revue du Cinema(Paris), July-August 1985 Kobal. John. Marlene Dietrich. New York. 1968 Thomas, Francois, in Positif( Paris), January 1986. kens, Homer, The Films of Marlene Dietrich, New York, 1968 Listener(London), 7 January 1988 Baxter, John, The Cinema of Josef von Sternberg, New York, 1971 Jenkinson, P, ""Sternbergs Last Interview, ' in Film Culture(New Silver. Charles. Marlene Dietrich. New York. 1974 York), June 1992. Morley, Sheridan, Marlene Dietrich, London, 1976 Koch, Gertrude, and M. Gerber, "Dietrichs Destiny: Strike a Pose Higham, Charles, Marlene: The Life of Marlene Dietrich, New in Sight& Sound (London), September 1992 York, 1977 Morgan, M,"Sternberg Dietrich Revisited Bright Lights Merigeau, Pascal, Josef von Sternberg, Paris, 1983 (Cincinnati), July 1993 Navacelle, Thierry de, Sublime Marlene, London, 1984 Seydel, Renate, Marlene Dietrich: Eine Chronik ihres Lebens in Bilden und Dokumenten. East Berlin. 1984 Walker. Alexander. Dietrich. London. 1984 The Devil Is a woman is the final film starring marlene dietrich Spoto, Donald, Falling in Love Again: Marlene Dietrich, Bos- made by director Josef von Sternberg. The identifying characteristics ton,1985 of the von Sternberg/Dietrich collaboration, including the ambiguity Wilson, George M, "Narration in Light: Studies in Cinematic often difficult for viewers to accept, are evident here. The Devil ls Point-of-View, Baltimore, 1986. a Woman is a perfect culmination to an enigmatic relationship and ucker, Carole ea of the Image: Josef von Sternbergs Dietrich a breathtaking series of visually stunning films Films. Rutherford. 1988 Based on Pierre Louys's novel, The Woman and the Puppet, the Dietrich, Marlene, Ich bin, Gott sei dank, Berlinerin, Frankfurt, 1987; film is a quintessential example of the von Sternberg filmed universe as My Life, London, 1989 To follow the story is to travel through a narrative labyrinth, follor Bowman, Barbara, Master Space: Film Images of Capra, Lubitsch, ing the many changes of mood, mind, character and costume of the ternberg, and Wyler, New York, 1992 central character. Concha(Dietrich). the devilish woman of the title 317

FILMS, 4 THE DEVIL IS A WOMAN th EDITION 317 THE DEVIL IS A WOMAN USA, 1935 Director: Josef von Sternberg Production: Paramount Pictures; black and white, 35mm; running time: 80 minutes, some sources list 82 minutes. Released 1935. Filmed in Paramount studios. Screenplay: Josef von Sternberg, adapted by John Dos Passos and S. K. Winston, from the novel The Woman and the Puppet by Pierre Louys; photography: Josef von Sternberg and Lucien Ballard; production designer: Hans Dreier; music and lyrics: Ralph Rainger and Leo Robin. Cast: Marlene Dietrich (Concha Perez); Cesar Romero (Antonio Galvan); Lionel Atwill (Don Pasqual); Edward Everett Horton (Don Paquito); Alison Skipworth (Señora Perez); Don Alvarado (Morenito); Morgan Wallace (Dr. Mendez); Tempe Pigott (Tuerta); Jil Dennett (Maria); Lawrence Grant (Conductor). Publications Books: Harrington, Curtis, An Index to the Films of Josef von Sternberg, London, 1949. Griffith, Richard, Marlene Dietrich—Image and Legend, New York, 1959. Von Sternberg, Josef, Fun in a Chinese Laundry, New York, 1965. Sarris, Andrew, The Films of Josef von Sternberg, New York, 1966. Josef von Sternberg: Dokumentation: Eine Darstellung, Mannheim, 1966. Weinberg, Herman G., Josef von Sternberg, Paris, 1966; as Josef von Sternberg: A Critical Study, New York, 1967. Kobal, John, Marlene Dietrich, New York, 1968. Dickens, Homer, The Films of Marlene Dietrich, New York, 1968. Baxter, John, The Cinema of Josef von Sternberg, New York, 1971. Silver, Charles, Marlene Dietrich, New York, 1974. Morley, Sheridan, Marlene Dietrich, London, 1976. Higham, Charles, Marlene: The Life of Marlene Dietrich, New York, 1977. Mérigeau, Pascal, Josef von Sternberg, Paris, 1983. Navacelle, Thierry de, Sublime Marlene, London, 1984. Seydel, Renate, Marlene Dietrich: Eine Chronik ihres Lebens in Bilden und Dokumenten, East Berlin, 1984. Walker, Alexander, Dietrich, London, 1984. Spoto, Donald, Falling in Love Again: Marlene Dietrich, Boston, 1985. Wilson, George M., ‘‘Narration in Light‘‘: Studies in Cinematic Point-of-View, Baltimore, 1986. Zucker, Carole, The Idea of the Image: Josef von Sternberg’s Dietrich Films, Rutherford, 1988. Dietrich, Marlene, Ich bin, Gott sei dank, Berlinerin, Frankfurt, 1987; as My Life, London, 1989. Bowman, Barbara, Master Space: Film Images of Capra, Lubitsch, Sternberg, and Wyler, New York, 1992. Baxter, Peter, Just Watch!: Sternberg, Paramount and America, London, 1993. Bogdanovich, Peter, Who the Devil Made It, New York, 1997. Articles: New York Times, 4 May 1935. Variety (New York), 8 May 1935. ‘‘Creative Film Director,’’ in Cue (New York), 14 December 1935. Dekobra, Maurice, ‘‘Comment Marlene Dietrich est devenue star,’’ in Cinémonde (Paris), 16 April 1939. Knight, Arthur, ‘‘Marlene Dietrich,’’ in Films in Review (New York), December 1954. Weinberg, Herman G., ‘‘The Lost Films: Part 1,’’ in Sight and Sound (London), August 1962. Weinberg, Herman G., ‘‘Josef von Sternberg,’’ in Film Heritage (Dayton, Ohio), Winter 1965. Green, O. O., ‘‘Six Films of Josef von Sternberg,’’ in Movie (London), Summer 1965. Higham, Charles, ‘‘Dietrich in Sydney,’’ in Sight and Sound (London), Winter 1965–66. Eisenschitz, Bernard, ‘‘L’Oeuvre de Josef von Sternberg,’’ in AvantScène du Cinéma (Paris), March 1966. Positif (Paris), May 1966. Bowser, Ellen, and Richard Griffith, in Film Notes, edited by Bowser, New York, 1969. Martineau, Barbara, ‘‘Thoughts on the Objectification of Women,’’ in Take One (Montreal), November-December 1970. Flinn, Tom, ‘‘Joe, Where Are You?’’ in Velvet Light Trap (Madison, Wisconsin), Fall 1972. Rheuban, Joyce, ‘‘Josef von Sternberg: The Scientist and the Vamp,’’ in Sight and Sound (London), Autumn 1973. Magny, Joel, in Téléciné (Paris), November 1976. Baxter, P., ‘‘On the Naked Thighs of Miss Dietrich,’’ in Wide Angle (Baltimore), vol. 2, no. 2, 1978. Combs, Richard, in Monthly Film Bulletin (London), May 1978. Tessier, Max, in Revue du Cinéma (Paris), July-August 1985. Thomas, François, in Positif (Paris), January 1986. Listener (London), 7 January 1988. Jenkinson, P., ‘‘Sternberg’s Last Interview,’’ in Film Culture (New York), June 1992. Koch, Gertrude, and M. Gerber, ‘‘Dietrich’s Destiny: Strike a Pose,’’ in Sight & Sound (London), September 1992. Morgan, M., ‘‘Sternberg & Dietrich Revisited,’’ in Bright Lights (Cincinnati), July 1993. *** The Devil Is a Woman is the final film starring Marlene Dietrich made by director Josef von Sternberg. The identifying characteristics of the von Sternberg/Dietrich collaboration, including the ambiguity, often difficult for viewers to accept, are evident here. The Devil Is a Woman is a perfect culmination to an enigmatic relationship and a breathtaking series of visually stunning films. Based on Pierre Louys’s novel, The Woman and the Puppet, the film is a quintessential example of the von Sternberg filmed universe. To follow the story is to travel through a narrative labyrinth, following the many changes of mood, mind, character and costume of the central character, Concha (Dietrich), the devilish woman of the title

THE DEVIL IS A WOMAN FILMS. 4 EDITIoN The devil is a woman The contradictory Concha is all surface and no depth, a beautiful, to accept the things that usually supplement a film story as if they fickle, unpredictable woman, or at least that is how she is presented as were the story themselves. In never fully explaining Concha, he Don Pasqual (Lionel Atwill)tells Antonio( Cesar Romero)about her. seduces viewers into observing her more and more closely Concha exists at the center of the film, and von Sternberg favors the The Devil Is a Woman presents an illusionary world, filled with audience with as few fulfilled expectations and explanations as she irony, mockery, androgyny, and a certain amount of implied deca- has favored her lovers. At the end. Concha(through von Sternberg) dence. As is true of all his films with Dietrich, it is somewhat of a von has demonstrated the same cruel control over viewers as she has over ill her lovers, leaving an audience with nothing to grasp, much less to playing the character who is toyed with by Concha. The relationship embrace or understand of these two characters is a complicated interplay of master and The Devil Is a Woman defines the von Sternberg approach to victim, puppet and manipulator, with no clear indication of which is cinema, which is unique. As a film artist, he defies the conceptions truly the master and which the puppet most have about what film is or what it can or should do. He seldom With The Devil Is a Woman, von Sternberg worked against the develops a logical narrative pattern, with ordinary character motiva- tradition of Hollywood in the 1930s, in that he reduced narrative tions. On the contrary, a von Sternberg character frequently makes an tension to a state in which very little seemed to be happening. The abrupt shift that, in literary terms, is unexpected and unjustified. " I best source for a story, he said, ""is an anecdote. Although The changed my mind, Concha offers as an explanation when she turns Devil Is a Woman is based on a famous novel, von Sternberg liked back across the border to rejoin her rejected former lover. This trivial plots, and never took up great social or political themes. This bitrary change of mind is the essence of the von Sternberg film, led to an inevitable rejection of von Sternberg by both critics and which forces viewers to realize that the act of seeing is itself the truest audiences, and The Devil ls a Woman was a failure. Seen today, it is meaning of the film. By removing conventional forms of dramatic a stunning example of pictorial beauty. The use of light and shadow in tension, character development and plot motivation, he asks view intricate interplay, the long takes connected by luxuriously slow 318

THE DEVIL IS A WOMAN FILMS, 4th EDITION 318 The Devil Is a Woman The contradictory Concha is all surface and no depth, a beautiful, fickle, unpredictable woman, or at least that is how she is presented as Don Pasqual (Lionel Atwill) tells Antonio (Cesar Romero) about her. Concha exists at the center of the film, and von Sternberg favors the audience with as few fulfilled expectations and explanations as she has favored her lovers. At the end, Concha (through von Sternberg) has demonstrated the same cruel control over viewers as she has over her lovers, leaving an audience with nothing to grasp, much less to embrace or understand. The Devil Is a Woman defines the von Sternberg approach to cinema, which is unique. As a film artist, he defies the conceptions most have about what film is or what it can or should do. He seldom develops a logical narrative pattern, with ordinary character motivations. On the contrary, a von Sternberg character frequently makes an abrupt shift that, in literary terms, is unexpected and unjustified. ‘‘I changed my mind,’’ Concha offers as an explanation when she turns back across the border to rejoin her rejected former lover. This arbitrary change of mind is the essence of the von Sternberg film, which forces viewers to realize that the act of seeing is itself the truest meaning of the film. By removing conventional forms of dramatic tension, character development and plot motivation, he asks viewers to accept the things that usually supplement a film story as if they were the story themselves. In never fully explaining Concha, he seduces viewers into observing her more and more closely. The Devil Is a Woman presents an illusionary world, filled with irony, mockery, androgyny, and a certain amount of implied decadence. As is true of all his films with Dietrich, it is somewhat of a von Sternberg autobiography, with Atwill, a von Sternberg look-alike, playing the character who is toyed with by Concha. The relationship of these two characters is a complicated interplay of master and victim, puppet and manipulator, with no clear indication of which is truly the master and which the puppet. With The Devil Is a Woman, von Sternberg worked against the tradition of Hollywood in the 1930s, in that he reduced narrative tension to a state in which very little seemed to be happening. ‘‘The best source for a story,’’ he said, ‘‘is an anecdote.’’ Although The Devil Is a Woman is based on a famous novel, von Sternberg liked trivial plots, and never took up great social or political themes. This led to an inevitable rejection of von Sternberg by both critics and audiences, and The Devil Is a Woman was a failure. Seen today, it is a stunning example of pictorial beauty. The use of light and shadow in intricate interplay, the long takes connected by luxuriously slow

FILMS. 4th EDItION LE DIABLE AU CORPS dissolves, the ironic music, the elegant compositions, and the compli cated, layered images make it the work of a major visual artist. LE DIABLE AU CORPS ( evil in the Flesh) france. 1947 Director: Claude Autant-Lara Production: Transcontinental Films: black and white. 35mm: run- ning time: 1 10 minutes. Released 1947 Screenplay: Jean Aurenche and Pierre Bost, from a novel by ray mond Radiguet; photography: Michel Kelber; editor: Madeleine Gug: production designer: Max Douy; music: Rene Cloerec Cast: Gerard Philipe(francois): Micheline Presle(Marthe): Denise Grey; Jean Debucourt Le diable au corps Publications Autant-Lara, Claude, Commentj'ai pu realiser Le diable au corps, Script in Ikon(Milan), January-March 1972. Autant-Lara, Claude, La Chasse aux escargots, in Cahiers de la Cinematheque(Perpignan), Spring 1973 Autant-Lara, Claude, Le diable au corps, Paris, 1984 Oms, Marcel. ""La Parole est a Claude Autant-Lara(interview ) in Cahiers de la Cinematheque(Perpignan), Summer 1973 Books Dazat, O, Lecons de morale, in Cinematographe( Paris), June 1986 Oms, M, in Nosferatu(San Sebastian), no 10, October 1992. Philipe, Anne, and Claude Roy, Gerard Philipe: Souvenirs ef Jeune Cinema( Paris), January/February 1997. temoignages, Paris, 1960; revised edition, 1977. Sadoul, Georges, Gerard Philipe, Paris, 1967; revised edition, 1979 Perisset, Maurice, Gerard Philipe, Paris, 1975 Armes, Roy, French Cinema Since 1946. Volume 1: The gree Le diable au corps was certainly the French film of 1947. winner Tradition, New York, 1976. of several European awards, the film was also banned in communities Cadars, Pierre, Gerard Philipe, Paris, 1 across the Continent. While a proud tribute to the French literary Autant-Lara. Claude. Le bateau co tradition, it posed as the most avant-garde example of postwar cinema l'Academie des beaux-arts. Paris. 1989 in th arado here, for the aesthetic ideology of Articles cinema of quality, of which this film serv an outstanding example, openly mixes an interest in iconoclastic subject matter, high art tradition and a refined studio treatment. Aurenche and Bosts Jeanne, Rene, and Charles Ford, ""Styles du cinema francais, "in La careful reworking of a youthful and rebellious novel points up its key Livre dor du cinema francais 1947-48, Paris, 1948 social and psychological oppositions. Claude Autant-Lara was then Philipe, Gerard, In the Margin, "in Sequence(London), Spring 1949 ble to put these oppositions into play through Billard, Ginette, " Gerard Philipe, in Films and Filming(London), realism of his handling of actors, and through the narrational com- October 1955 mentary wrung out of decor, music, and cinematic figures. Durgnat, Raymond, The Rebel with Kid glove Their grim intelligence and determined passion made Gerard Filming(london), October and November 1960. hilipe and Micheline Presle an instantly legendary couple; he as 319

FILMS, 4 LE DIABLE AU CORPS th EDITION 319 dissolves, the ironic music, the elegant compositions, and the complicated, layered images make it the work of a major visual artist. —Jeanine Basinger LE DIABLE AU CORPS (Devil in the Flesh) France, 1947 Director: Claude Autant-Lara Production: Transcontinental Films; black and white, 35mm; running time: 110 minutes. Released 1947. Screenplay: Jean Aurenche and Pierre Bost, from a novel by Raymond Radiguet; photography: Michel Kelber; editor: Madeleine Gug; production designer: Max Douy; music: René Cloërec. Cast: Gérard Philipe (François); Micheline Presle (Marthe); Denise Grey; Jean Debucourt. Publications Script: Autant-Lara, Claude, Le diable au corps, Paris, 1984. Books: Philipe, Anne, and Claude Roy, Gérard Philipe: Souvenirs et temoignages, Paris, 1960; revised edition, 1977. Sadoul, Georges, Gérard Philipe, Paris, 1967; revised edition, 1979. Perisset, Maurice, Gérard Philipe, Paris, 1975. Armes, Roy, French Cinema Since 1946, Volume 1: The Great Tradition, New York, 1976. Cadars, Pierre, Gérard Philipe, Paris, 1984. Autant-Lara, Claude, Le bateau coule: discours de réception à l’Académie des beaux-arts, Paris, 1989. Articles: Jeanne, Rene, and Charles Ford, ‘‘Styles du cinéma français,’’ in La Livre d’or du cinéma français 1947–48, Paris, 1948. Philipe, Gérard, ‘‘In the Margin,’’ in Sequence (London), Spring 1949. Billard, Ginette, ‘‘Gérard Philipe,’’ in Films and Filming (London), October 1955. Durgnat, Raymond, ‘‘The Rebel with Kid Gloves,’’ in Films and Filming (London), October and November 1960. Le diable au corps Autant-Lara, Claude, ‘‘Comment j’ai pu realiser Le diable au corps,’’ in Ikon (Milan), January-March 1972. Autant-Lara, Claude, ‘‘La Chasse aux escargots,’’ in Cahiers de la Cinémathèque (Perpignan), Spring 1973. Oms, Marcel, ‘‘La Parole est à Claude Autant-Lara’’ (interview), in Cahiers de la Cinémathèque (Perpignan), Summer 1973. Dazat, O., ‘‘Lecons de morale,’’ in Cinematographe (Paris), June 1986. Oms, M., in Nosferatu (San Sebastian), no. 10, October 1992. Jeune Cinéma (Paris), January/February 1997. *** Le diable au corps was certainly the French film of 1947. Winner of several European awards, the film was also banned in communities across the Continent. While a proud tribute to the French literary tradition, it posed as the most avant-garde example of postwar cinema in that country. There is no paradox here, for the aesthetic ideology of the ‘‘cinema of quality,’’ of which this film serves as an outstanding example, openly mixes an interest in iconoclastic subject matter, high art tradition, and a refined studio treatment. Aurenche and Bost’s careful reworking of a youthful and rebellious novel points up its key social and psychological oppositions. Claude Autant-Lara was then able to put these oppositions into play through the psychological realism of his handling of actors, and through the narrational commentary wrung out of decor, music, and cinematic figures. Their grim intelligence and determined passion made Gérard Philipe and Micheline Presle an instantly legendary couple; he as

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