Where The Devil Can't Go, He Sends A Woman 2 YIFY !!INSTALL!!
I must admit at the outset that I don't particularly like a style of film that was very popular in the 1920s and 30s--the "über-vamp" type of movie where a woman is so alluring and seductive that men fall at their feet--helpless! Both Marlene Dietrich and Greta Garbo became famous for such roles and frankly, they seem awfully silly in the 21st century. First off, no woman is THAT seductive. Second, with all the makeup and eyebrow plucking, if there WAS that type of woman, it certainly wouldn't look like either of these women! The bottom line is that this theme is one giant cliché and writing these films was pretty much "by-the-numbers" in most cases--in other words, it didn't require a whole lot of creativity or thought.In this case, much of the story is told through flashbacks, as Lionel Atwill is trying to warn young Caesar Romero to stay away from Marlene. And, in these flashbacks, Ms. Dietrich does play an awful and totally selfish woman. But, at the same time, Atwill (and later, other male characters) plays the role of a weak and ineffectual man--more like a masochist in a sick relationship than a man. All this is meant to be very sensationalistic--I just thought it was all pretty silly.If you MUST see this type of film, I suggest you see the Luis Buñuel film, THE OBSCURE OBJECT OF DESIRE--which is, in fact, a comedic takeoff on THE DEVIL IS A WOMAN. The overall plot is nearly identical but the film is played more for laughs and shock value--which is exactly how THE DEVIL IS A WOMAN should have been played! In other words, since the plot was so poor and old fashioned, lampooning it is probably the only thing to do with it! A silly film that is moderately interesting, but totally unbelievable and clichéd. It only merits a 6 because the production values are high and the actors do the best they can with this bilge.
Where the Devil Can't Go, He Sends a Woman 2 YIFY
The Devil Is A Woman marked the end of the director/player partnership of Josef Von Sternberg and Marlene Dietrich. I'd love to give the film a better review, but the results of this film show the team was played out in terms of creativity.In terms of a plot Von Sternberg took one that was very familiar, a woman dragging a man to the depths of destruction, in fact a few men in this case. If it sounds familiar that's exactly what Marlene Dietrich was doing in The Blue Angel as the saucy sexpot entertainer Lola-Lola who humiliated and degraded Emil Jannings. Here she leads Lionel Atwill and young Cesar Romero in his very first role of substance and if you can believe it, Edward Everett Horton. You read that correctly.At a carnival young Romero who is a Republican revolutionary in turn of the last century's Spain first makes some heavy eye contact with sexy Marlene. Later on he runs into former Spanish Army officer Lionel Atwill whom he asks about this ravishing creature.Lionel spends the next several reels telling his sad story of how this woman was the ruin of his career. But does Romero heed Atwill's warnings? He does not, because the way Atwill tells it this woman might be the ultimate in sexual fantasy. He ought to know, Atwill's still fantasizing over here.Naturally these guys are going to tangle and I'm not going to reveal how it does come out, in fact there is still some doubt as the film ends. Unlike The Blue Angel, The Devil Is A Woman descends into some real campiness and you just can't take it seriously after a while.Joel McCrea was almost in this film. He was cast in the Cesar Romero part and after shooting a few scenes begged to be out of it. Then they actually hired a man of Hispanic heritage for one of the lead roles in a story set in Spain.At one point Marlene has to charm Edward Everett Horton. Someone at Paramount had a sense of humor in casting that one. And can you believe Allison Skipworth gave birth to Marlene Dietrich. Again someone has a sense of humor.Von Sternberg and Dietrich called it day after The Devil Is A Woman. The well had run pretty dry by then.
Michael York must have laughed all the way to the bank on this one and thispresumes his check cleared from Paul Crouch. He gives one of the most outrageous performances ever put on film. Acting classes in overacting can bebuilt around what he does with Stone Alexander the anti-Christ he portrays.Megiddo: The Omega Code 2 gives us a bit of back story of Stone Alexander whoas we saw in the first Omega Code was checked in his march to the apocalypseby Casper Van Dien. Van Dien was smart enough to stay clear of the sequel.We get a bit of back story on Stone. He was the oldest of two sons of mediamogul David Hedison, the other Michael Biehn. Biehn gets to be president ofthe USA and York the head of the world. As we know York is also the devil'sspawn.This film is bad, really bad. It's a compilation of all the nostrums of the endtimers, the xenophobic nationalists, and general all around religious kooks.And believe me York knows this, but this is an opportunity to throw thespianrestraint thrown to the winds.Michael York is having a ball with this part. As Charles Laughton said 'theycan't censor the gleam in my eye' and no one would try with York.One of the worst of the end time films. But a chance to see this kind of overacting doesn't come that often. 041b061a72