The Blue Angel (1930 film)
GPTKB entity
Statements (83)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:film
|
| gptkbp:adaptation |
Adapted into a stage musical.
|
| gptkbp:awards |
Best Actor at the Venice Film Festival
|
| gptkbp:based_on |
The Blue Angel (play)
|
| gptkbp:box_office |
Successful in Europe.
|
| gptkbp:censorship |
Faced censorship in some countries.
|
| gptkbp:character |
gptkb:Lola_Lola
gptkb:Professor_Immanuel_Rath gptkb:The_Principal The Students Käthe |
| gptkbp:cinematography_by |
gptkb:Karl_Freund
|
| gptkbp:country |
gptkb:Germany
|
| gptkbp:critical_reception |
Mixed reviews upon release.
|
| gptkbp:cultural_impact |
Influenced later films about obsession and downfall.
|
| gptkbp:directed_by |
gptkb:Josef_von_Sternberg
|
| gptkbp:distributor |
gptkb:Universum_Film_AG
|
| gptkbp:edited_by |
gptkb:Bertold_Viertel
|
| gptkbp:famous_for |
Marlene Dietrich's performance
|
| gptkbp:filming_location |
Berlin, Germany.
|
| gptkbp:genre |
gptkb:drama
|
| gptkbp:has_been_restored |
Restored in 1999.
|
| https://www.w3.org/2000/01/rdf-schema#label |
The Blue Angel (1930 film)
|
| gptkbp:influenced |
Film noir.
The exploration of the human condition. The exploration of the theme of societal rejection. The portrayal of the conflict between passion and duty. The exploration of the theme of artistic integrity. Marlene Dietrich's career. The exploration of the theme of the human experience. The character archetype of the tragic artist. The depiction of the artist's struggle. The depiction of tragic love stories. The exploration of power dynamics. The exploration of sexuality in film. The exploration of the consequences of desire. The exploration of the theme of alienation. The exploration of the theme of betrayal. The exploration of the theme of existentialism. The exploration of the theme of love and loss. The exploration of the theme of redemption. The exploration of the theme of self-destruction. The exploration of themes of obsession. The narrative structure of downfall. The portrayal of cabaret culture. The portrayal of societal norms. The portrayal of the duality of human nature. The portrayal of the impact of societal change. The portrayal of the struggle for identity. The portrayal of the tragic hero. The representation of female performers. The representation of moral decay. The representation of societal expectations. The representation of the artist's psyche. The representation of the bohemian lifestyle. The representation of the consequences of fame. The representation of the search for meaning. The representation of the struggle for acceptance. The use of cabaret as a setting. The use of dramatic irony. The use of music in film. The use of symbolism in film. The use of visual metaphors. The visual style of later German films. |
| gptkbp:influenced_by |
gptkb:German_Expressionism
|
| gptkbp:language |
gptkb:German
|
| gptkbp:legacy |
Considered a classic of world cinema.
|
| gptkbp:music_by |
gptkb:Ernst_Toch
|
| gptkbp:notable_quote |
Ich bin von Kopf bis Fuß auf Liebe eingestellt.
|
| gptkbp:notable_scene |
The final confrontation.
The cabaret performance. |
| gptkbp:premiered_on |
gptkb:Ufa-Palast_am_Zoo
|
| gptkbp:produced_by |
gptkb:Paul_Kohner
|
| gptkbp:release_date |
1930-04-01
|
| gptkbp:remake |
gptkb:The_Blue_Angel_(1959_film)
|
| gptkbp:runtime |
95 minutes
|
| gptkbp:screenplay_by |
gptkb:Carl_Zuckmayer
|
| gptkbp:set_in |
gptkb:Berlin
|
| gptkbp:starring |
gptkb:Emil_Jannings
gptkb:Marlene_Dietrich |
| gptkbp:theme |
Desire and Destruction
|
| gptkbp:bfsParent |
gptkb:Marlene_Dietrich
|
| gptkbp:bfsLayer |
4
|